Omitting Needless Words

Photo taken by Ville Miettinen

Most of us want to write a novel. Some us may write fro kids while others target young adults. There's a big difference between an easy reader and a YA Fantasy; for one thing; size.
For the most part, we want to end up with a book that's around 250 pages. Which is why its disappointing when the rough draft comes out to be...40 pages, like my first rough draft (In size 12, Times New Roman).
For some, its only too easy to write Above and Beyond the Call of Duty and end up with rough drafts 700 pages in length. (Stephanie Meyer *cough*)
Others have a hard time thinking up enough events. And that's where the trouble begins.
The slower writers feel obliged to add any random scene and long-winded paragraphs, just so they can meet to word count goal. I'll admit, I've done this. But then I stumbled onto the best bit of writing advice I'd ever received:

Cut unnecessary parts...you'll never run out of ideas, so don't be afraid to let go of things.
-Todd Mitchell

And he's perfectly right.
Revision is mostly about hacking your novel to pieces and sewing it back together. Anything that doesn't belong needs to go.
If only it was that simple.
But, like most writers, we get attached. We fall in love with plot, with clever little aphorisms, with characters, with conflicts. And it hurts to let them go.
But let go we must.

Read more...

Elements of Fiction: Tone

Photo by Nicolas Marino

Tone is the overall mood of your story. Moods can change from scene to scene, but the tone lasts through the whole book.
Take, for example, the insanely popular book Twilight. Even though there’s a spattering of action-packed scenes, the majority are romance. The tone is romantic rather than supernatural.

Picture yourself holding the published, hardbound copy of your book, with your name across the bottom.
What is the overall tone? If a prospective reader glanced at it, what would they assume?

Now flip the book over.
What do the critics say about it? Do they proclaim it as an insightful classic or a heart-pounding action ride?

Open up your book. Go to the appendix where there’s an interview with the author (you!). One of the questions you were asked was, “Why did you write this book?”
How did you respond?

Step 1: Tone
Decide what you want the tone of your story to be. It is going to be light-hearted, thought-provoking, dark, or romantic?
This will provide the basis for everything you right. If you’re attempting to write a light-hearted picture book, it most likely will not include the death of a friend.
Everything you write will orbit around this theme. Do not be afraid to change it if you need to. Nothing is set in stone.

Step 2: Direction
Make up critic reviews for your published book. They must be good. You are, after all, writing the ideal reviews of your perfected final draft.
This exercise let’s you know what you want your book to end up like. It’s easier to get somewhere if you know where you’re going.

Step 3: Purpose
Why did you write your book?
Think carefully on this one.
Did you write it to entertain? Inform? Warn?
While it’s good know where you’re going, it’s just as necessary to know the reason behind the journey.

Read more...

Guest Post: Janice Hardy on "Trail Blazing"

We’ve all read stories where clues were so seamlessly dropped in along the way that until the big secret was revealed, we never even realized they were there. But when we finally did, all the pieces of the story fell into place and we were awed by the skill in which that bread trail had been left. Those writers made it look easy, as if they knew from page one what clue went where and how it would all come together in the end.
I’m sure there are bound to be a few writers out that who really can write that way, but for most of us, those clues are either planned ahead of time, inserted after the fact, or happy accidents. Sometimes, (heck, probably most times) a combination of all three.

Planning the Trail
Some clues we know about in the planning stage of the novel. Those details that came to us as we were brainstorming and writing our outlines or making our notes. Important clues we work hard to build a scene around. Often these are the things our protag’s will discover down the line in some fashion and a critical plot twist may even hinge on them. They’re important, which is why we know about them from the start.

Stumbling Upon the Trail
Then there are those details that just kinda happen, and it isn’t until after that we realize that throwaway detail could be so much more. A bit of backstory or internalization that suddenly has greater meaning, an off-hand setting element that becomes the perfect hiding place for a long lost secret. The types of details that lurk in our brains and leak onto the page, and somehow, always seems to be better than the stuff we actively think up.

Marking the Trail
Last, there are those details that we go back and add in once we’ve figure out how the story unfolds. The purposeful red herrings, the hidden clues, the telling off-hand remark. Each detail is inserted at just the right spot so the reader can follow that trail, even if they don’t realize they’re following it.

Keeping the Trail Clean
No matter what type of writer you are (outliner or pantser), odds are you’re going to go back at some point and edit. Doing an edit pass for clues, hints, and foreshadowing isn’t a bad idea, especially if you’re not one of those mystery writers who think of these things naturally. (I think mystery writers are born with this skill) If you’re not sure where to leave those bread crumbs, try asking…

When do I want the reader to start suspecting things?
Sometimes you’ll want a surprise, other times you’ll want the tension of trying to figure it out to help pull your story along.

When does my protagonist start to figure it out?
Readers often spot things long before characters, but if it’s too obvious, then your character might look dumb if they haven’t figured it out yet. Make sure you have a good balance between reader hints and character hints. If your protag needs to know something by page 45, leave enough clues before then so the realization feels plausible.

Are there any slow/weak spots that could use some freshening up?
Weak spots in need of help could be opportunities to create a scene that links back or foreshadows another. Would adding in a layer of mystery help?

Do the characters encounter anything thematically or metaphorically linked to the thing?
You know how someone can say something and make you think of something different? Your brain picks up on it because there’s some link between the two things. You can do the same thing with your characters. Something they’ve heard or experienced might be the perfect trigger for a memory or realization in a later scene. Or, you can go back and add something that can make this happen.

Trails are made by folks wandering back and forth over them, so it makes sense that a good plot trail might take looking at from both ends of your novel. Knowing where a plot or subplot ends up makes it a lot easier to figure out where it starts. The more you wander that trail, the more you learn about it and the more you can share with those starting down it for the first time.


About Blue Fire

Part fugitive, part hero, fifteen-year-old Nya is barely staying ahead of the Duke of Baseer’s trackers. Wanted for a crime she didn’t mean to commit, she risks capture to protect every Taker she can find, determined to prevent the Duke from using them in his fiendish experiments. But resolve isn’t enough to protect any of them, and Nya soon realizes that the only way to keep them all out of the Duke’s clutches is to flee Geveg. Unfortunately, the Duke’s best tracker has other ideas.
Nya finds herself trapped in the last place she ever wanted to be, forced to trust the last people she ever thought she could. More is at stake than just the people of Geveg, and the closer she gets to uncovering the Duke’s plan, the more she discovers how critical she is to his victory. To save Geveg, she just might have to save Baseer—if she doesn’t destroy it first.

Buy it here.

About Janice Hardy
A long-time fantasy reader, Janice Hardy always wondered about the darker side of healing. For her fantasy trilogy THE HEALING WARS, she tapped into her own dark side to create a world where healing was dangerous, and those with the best intentions often made the worst choices.
Her books include THE SHIFTER, and BLUE FIRE from Balzer+Bray/Harper Collins. She lives in Georgia with her husband, three cats and one very nervous freshwater eel.

Read more...

How to Write an Essay: The Conclusion

A conclusion is all commentary; no facts. You should have already made your point in your body paragraph. Unless the essay is really long, never use your conclusion to summarize. The conclusion is there to make your reader think. Clarify your theme, evaluate alternate ideas, or explain how the theme applies to the world.

Example:
It is human nature to judge. But a person's heart is impossible to discern. It doesn't matter who they were or what we think they might become, but who they are now. We must judge, but we must do so righteously. As it says in the book, "...what is said about men often has as must influence upon their lives...as what they do." Be cautious of how you label others; the label could become a brand.

The Essay:
Victor Hugo, author of Les Miserables, spent the majority of his life as an exile during the time period that immediately followed the reign of terror. Les Miserables pinpoints the problems in society and the rift between good and evil. Hugo’s masterpiece stands as a reminder to us all that, no matter the consequences, good must prevail.
Jean Valjean, despite being a convict, is essentially noble. After changing his name, Valjean settles down in a small town, always fearful that he will be discovered. When the police arrest another man in his name, Valjean must decide whether to turn himself in, or to keep silent in order to retain his liberty. In the end, Valjean reveals himself to save the innocent man from life imprisonment. Jean Valjean would rather die, abased and despised, then allow someone to suffer on his behalf. Jean Valjean would rather “re-enter into hell and there become an angel” than "remain in paradise and there become a demon!"
It is human nature to judge. But a person's heart is impossible to discern. It doesn't matter who they were or what we think they might become, but who they are now. We must judge, but we must do so righteously. As it says in the book, "...what is said about men often has as must influence upon their lives...as what they do." Be cautious of how you label others; the label could become a brand.

Read more...

How to Write an Essay: Body Paragraphs

A body paragraph needs three things; a topic sentence, facts/examples, and commentary.

Topic Sentence
The topic sentence always comes first and is always an opinion.
My old LA teacher drilled this into my head; "Facts can't be supported. Facts are the supports."
(Jean Valjean, despite being a convict, is essentially noble.)

Facts/examples
Cut and dry; use evidence to support your topic sentence.
(After changing his name, Valjean settles down in a small town, always fearful that he will be discovered. When the police arrest another man in his name, Valjean must decide whether to turn himself in, or to keep silent in order to retain his liberty. In the end, Valjean reveals himself to save the innocent man from life imprisonment.)

Commentary
This is where you have free rein. Write your opinions, clarify statements you've made or make connections between statements.
(Jean Valjean would rather die, abased and despised, then allow someone to suffer on his behalf. Jean Valjean would rather “re-enter into hell and there become a demon” than "remain in paradise and there become a demon!")

Example:
(Les Misérables)
Jean Valjean, despite being a convict, is essentially noble. [Topic Sentence] After changing his name, Valjean settles down in a small town, always fearful that he will be discovered. When the police arrest another man in his name, Valjean must decide whether to turn himself in, or to keep silent in order to retain his liberty. In the end, Valjean reveals himself to save the innocent man from life imprisonment. [Example] Jean Valjean would rather die, abased and despised, then allow someone to suffer on his behalf. Jean Valjean would rather “re-enter into hell and there become a demon” than "remain in paradise and there become a demon!" [Commentary]

Part 1: The Introduction
Part 2: Body Paragraphs (You are Here)
Part 3: The Conclusion (Coming Soon)

Read more...

How to Write an Essay: The Introduction

At one point or another, we’ve all had to write an essay. For most, they’re dull to write and even duller to read. Luckily, a formula exists that will produce a professional thesis.

The intro must include five things; Speaker, Occasion, Audience, Purpose, and Subject. The order doesn’t matter, as long as you include them. We call this a SOAPS intro.

Speaker
The Speaker is the figure you are focusing on.
For example, if you were writing about a book, the speaker would be the author and the title of the work. (Les Miserables, Victor Hugo).
If you were writing an analysis of Einstein’s works, the speaker would be Einstein.

Occasion
The events surrounding your speaker.
If you were writing about a book, this would include the events in the writer’s life that inspired them to write said book. (Victor Hugo spent the majority of his life as an exile during the time period that immediately followed the reign of terror. He undoubtedly hated society and spoke against it in Les Miserables.)
If you were writing about a person, Occasion would pertain to the time period in which they lived. (Einstein was hated by Nazis and became an American citizen. His works aided the allies in constructing the atomic bomb and ending World War II.)

Audience
Who did the artist direct their work towards?
(Victor Hugo’s works were directed at society.)
Audience doesn’t always apply. (Einstein’s works were not directed toward anyone.)

Purpose
What is the purpose of their works?
(Why did Victor Hugo write Les Miserables? To pinpoint the problems with society and demonstrate the difference between good and evil.)
(Einstein developed his theories for the sake of knowledge and for the end of the war.)

Subject
This is your thesis statement. This usually appears at the end of the intro and details what your essay is about.
(Hugo’s masterpiece stands as a reminder to us all that, no matter the consequences, good must prevail.)
(Einstein’s genius served as a launching pad for the twenty-first century, providing us with a greater understanding of the universe around us.)

Example:

Victor Hugo, author of Les Miserables, [speaker] spent the majority of his life as an exile during the time period that immediately followed the reign of terror [occasion]. Les Miserables pinpoints the problems in society and the rift between good and evil [purpose]. Hugo’s masterpiece stands as a reminder to us all [audience] that, no matter the consequences, good must prevail [subject].

Part 1: The Introduction (You are here)
Part 2: Body Paragraphs
Part 3: The Conclusion (Coming Soon)

Read more...

Boring Book Syndrome: Tough Love

This post is an expansion of tuesday's Tough Love section.

This seems to be a major issue for people; what to do when you love part of your story but hate the rest. 

One of my earliest stories suffered from this love/hate controversy. I loved the world I created and spent hours working out its mechanics. The events played out like actual history, and the villain was one of the most chilling antagonists I’d ever created.

One problem though; I absolutely hated the main character. The solution seemed simple. If you don’t like your main character, change him.
He went from slave, to thief, to soldier, to mythical creature. He became a She and flip-flopped back into a He. I hated every single one.
I figured I’d change it from character-driven to event-driven. But I couldn’t find the proper opening. All the doors that led into my richly imagined world seemed like they could only be opened through a character.
I gave up. I sadly stuck all related writings and drawings in the back of my file cabinet and forgot them for years.
A few months ago I stumbled across my old rough draft. I noticed that one character appeared in almost every scene and lit up the otherwise bland novel; the antagonist.
That couldn’t be right. The antagonist couldn’t be the main character!
But I noticed something. The antagonist had goals, the antagonist had enemies. True, he wasn’t a very nice main character, but he fit the description. The key to the story was right under my very nose.


So what do you do when you struggle to write something you love?

Step 1: Identify what you hate.
What’s holding you back? Is it your setting, your characters, your idea, or your writing technique?

Step 2: Change what you hate.

Setting: is there a way to write the same story somewhere else? Does it have to be a magical world? If it’s set in your basic medieval forest, is it possible to tell your story in a lush ancient jungle or vice-versa. Don’t let setting get in the way. The place you feel the most enthusiasm for is where you should be.

Characters: What character do you hate? Can you erase him? Can you change him? If it’s the main character, can you write the story without him? Can you put someone you love in his place?

Idea: Why do you hate it? Is it because it’s unoriginal and based off a movie you love? Don’t worry about being original. Half my books start out sounding exactly like the movie/book that inspired them. With each new draft you veer away from that plotline until someday it’s entirely yours.

Writing Technique: Don’t worry about what your rough draft sounds like. Every rough draft sucks. However, if you’re so frustrated with the way it sounds that you can’t go on, try experimenting with the style. Should it be more serious? More whimsical? Should you change the point of view? Let’s say you’re writing a horror story. You’ll probably not want to sound like Junie B. Jones or Spock. It’d be hard to raise suspense through the perspective of a kindergartener or an alien who can’t feel fear.

Step 3: Replace
If Step 2 doesn’t work out for you, try replacing what you hate with what you love. Go through your draft and pinpoint things that you felt excited to write. Give the things you love center stage.

Read more...

Made to Stick for Writers: Simple

Let's get this straight; "simple" does not mean "dumbing down". It means "core".
For writers, who thrive on details, simple can seem like a misnomer. From what I can tell, the simple principle is very seldom used in the actual writing process. But it can help while planning and publishing.

Planning
Even if you don't believe in outlines, finding your core message beforehand creates focus. The story unfolds smoother.
Try to figure out the core, or main idea, by asking yourself;

In one sentence, what is the main idea of this story?

Twilight: A seventeen-year-old girl falls in love with a vampire who has a hard time not eating her.
Harry Potter: A neglected boy discovers that he's a wizard and goes to a school of magic.
The Hunger Games: A girl takes her sister's place in a cruel arena where only one person is allowed to survive.

These one sentence descriptions can later be used when you're attempting to publish your work.

Publishing
One of the biggest challenges in writing is convincing a publisher that your book will sell itself. Quoting from the book:

In Hollywood, people use core ideas called "high-concept pitches." You've probably heard some of them. Speed was "Die Hard on a bus." 13 going on 30 was "Big for girls." Alien was "Jaws on a spaceship."

So why do analogies work? Basically, it presents a new concept by tapping into a concept you already know. Take, for example, these book reviews;

Harry Potter and the Sorcerer's Stone
"A delightful...debut from an author who dances in the footsteps of P.L. Travers and Roald Dahl."
-Publishers Weekly, starred review

The Dark Stairs
"Move over Nancy Drew, Herculeah Jones has arrived!"
-School Library Journal

Stormbreaker
"What if James Bond started spying as a teenager?"
-Kirkus Review

Wolf Queen
"A diverting escapade for fans of Karen Cushman's Catherine, Called Birdy and Gail Carson Levine's Ella Enchanted."
-Kirkus Review

Piratica
"There's a taste of Pirates of the Caribbean and Indiana Jones."
-Kirkus Review, starred Review


Intro
Part 1: Simple (You are here)
Part 2: Unexpected
Part 3: Concrete
Part 4: Credible
Part 5: Emotional
Part 6: Story
Part 7: Epilogue

Read more...

Guest Post: Writing Professionally

Hello, friends. It's Olive Tree, from HorseFeathers.
Let's see... I'm a pretty whimsical person, and I guess I write to share my crazy thoughts with others. A lot of the time I'll have a very vivid dream and turn it into a story or incorporate it into whatever story I am working on at the moment...I prefer to write fantasy, because all the rules are up to me — plus, describing new worlds and species gives me special joy. My current novel,...is nearly finished...I'm very excited about getting it published... I jotted down the first few sentences over three years ago! However, I actually published my first book this February.

One of the biggest problems I run into personally and that I see in other peoples' work is that it doesn't look professional. At all. This bugs the bejeezes out of me because I know that they have hopes to be published, but there's no chance when their work looks like that. So here's a few tips to make your writing sound like it was done by a professional author.

1: Make it proper

Improper spelling, grammar, and punctuation set off red flags everywhere! Spelling is something you can't skimp on when you want your writing to sound the best. Turn on spell check. Please. Punctuation is in the same boat... don't use more than one ! or ?, no more than three ..., use the proper "", and never use ?! or any other such combination. Learn how to use : , ; , and —. Indent and form a new paragraph when someone speaks. Instead of ALL CAPS, make it in italics. As for grammar, I suggest everybody read the Elements of Style. It's a short but very helpful book that will teach you how to make your writing look good. Of course, proper grammar all. the. time. is a big no-no as well... sentence fragments, run-ons, or dialect that may use improper grammar are all hugely important to give your book a personality and a style. But if you constantly make mistakes (especially in 3rd person) your writing will sound young and unprofessional.
Basically, read your favorite books (preferably not YA/children's books) and notice how the author uses the tactics above.

2: Make it plausible

If your villain is bad to the bone, or your hero has no flaws, your book will be really, really boring. Instead, give your villain an awful past, or your main character a violent streak they cannot control or some sort of internal struggle.
Also, if you use magic in your book, don't make everything ever-so-easy. You can't have your character sitting on the couch getting fat while his/her magic saves the world, with zero effort from the character.

3: Review

Whoops... suddenly your character has blond hair... wasn't it red in the beginning of the story? Or perhaps a minor character has switched names or genders without your noticing. And whatever happened to your main character's faithful dog? He seems to have disappeared.
If your work is inconsistent, even in the minor details, your book will die a very slow and painful death. Solution? Review! Either go back and read from the top every time before you begin working on it, or (if that takes several hours since your book is long, like me) every so often read the whole thing with a critical eye. Which brings me to number four...

4: Be your own critic

Okay everyone... ditch your ego and pretend you are a critic with a razor-sharp pen. Find any imperfections? Of course you did. Now go back to your usual self and fix what the "critic" found wrong or weak. I can't stress how important this is. Similarly,

5: Get a pre-editor

If you're not quite ready for a professional editor, get your most brutally honest friend, teacher, or family friend to read your story and give you honest-to-goodness feedback. Tell them to be merciless. Obviously a background in writing or publishing is preferred.
They might come back and tell you that your book is the worst they've ever read. Be ready for this. Authors must have a thick skin.
(I am always willing to read your work and give you feedback. Be warned... I'm one of those brutally-honest types.)

6: Variety and the over-use of it

If you're using "said" over and over, that's a problem. If you're repeating a name, that is a huuuge problem. Try using more descriptive words: "mumbled" or "cried"; "the girl" or "his friend".
But be careful! Too much variety will leave the reader confused and your work too wordy. Don't fall into the sandpit of variety. Teeter on the edge instead. It's a careful balance, one you have to find for yourself.

7: Have fun!

Add some humor. Make something silly. Go ahead, model a character after yourself, flaws and all. It's your book, and chances are that if you try to contain your style too much it won't sell, because it will sound like every other teen author trying to realize a foggy dream of authorship.

Good luck, and happy writing!
-Olive Tree

[If you would like to submit a guest post, e-mail me, Story Weaver, at writersnse@gmail.com]

Read more...

Elements of Fiction: Foreshadowing Part 2

We've discussed what foreshadowing is and its most common form.
So how do we create foreshadowing?

Dialogue
What people say can hint at future events. For example in The Most Dangerous Game by Richard Connell;

"...Great sport, hunting.”
“The best sport in the world,” agreed Rainsford.
“For the hunter,” amended Whitney. “Not for the jaguar.”
“Don’t talk rot, Whitney,” said Rainsford. “...Who cares how a jaguar feels?”
“Perhaps the jaguar does,” observed Whitney.
“Bah! They’ve no understanding.”
“Even so, I rather think they understand one thing—fear. The fear of pain and the fear of death.”
“Nonsense,” laughed Rainsford. “...The world is made up of two classes—the hunters and the huntees. Luckily, you and I are the hunters."

This conversation rings with meaning when Rainsford later becomes the "hunted".

Events
The things that happen in the beginning can carry symbolism of what is to come.
From Michele Torrey's Voyage of Ice;

“A baby bird...”
Dexter peered into the tree overhead. “Must’ve fallen from its nest. C’mon, Nick, put it down. It’ll make a fine meal for something...”
“But we can’t let it die.”
“All things die, Nick.”
“I can feed it milk. And a worm, maybe..."
The hatchling was warm in my hands, and all the way back I whispered to it while Dexter rowed the boat and rolled his eyes.
...For two days I kept the bird alive, but it finally died as Dexter said it would. I held the cold, stiff body, thinking maybe it wasn’t really dead yet, but Dexter snatched it from me and buried it in a hole in the yard.
“It’s over,” he said, dry-eyed and looking disgusted.
I bawled my eyes out. Couldn’t help it. I visited the little grave for weeks, until it was overgrown and I could no longer see where it used to be.

Later in book, Nick shows the same compassion for life when he, and others, are stranded.

Narration
A simple sentence can allude to what's going to happen. Tucked neatly in a story could be,

"That was the last time Marcus ever saw her..." (This is a direct telling that something happens that prevents Marcus and the girl from ever seeing one another.)

"His words were kind enough, but his voice was cold. I was suddenly afraid..." (The narrator is always right, and holds great sway on the reader's opinions.)

"But it was too late anyway. No one could survive six months in Antarctica... (Whenever someone says something is impossible in a story, we usually assume it isn't. Because that's what writing a story is about; doing the impossible through a story.)

Read more...

Elements of Fiction: Foreshadowing Part 1

Foreshadowing: Giving hints to help the reader predict future events.
Okay, so why would we want readers to predict something? Aren't we supposed to surprise them? Yes and No.

Surprise is good. It can jolt the reader and intrigue them.
But sometimes, foreshadowing is far more intriguing. Let's look at the most basic form of foreshadowing; a prophecy.

Let's say that in the prologue an oracle declares that in ten years a young boy will find a long-lost sword. After the sword is used to kill his mother, he will use the sword to defeat a dark sorcerer in the mountains.

Now, why would a reader want to even read the story? They basically know the plot, right? Sure, but they are missing information and they know it.
How does the boy find the sword? How is the sword used to kill his mother? Does that mean he kills her? Why? How does he even get involved in the defeat of a dark sorcerer? How does he use the sword to accomplish that? Who is the dark Sorcerer and why should he defeat him?

I'm not saying this is an award-winning plot. But foreshadowing can generate interest and discussion. The reader will want to read, just to find out the answers to their questions.

When writing foreshadowing, think about "What do I want my audience to ask?"

This question should especially be used at the beginning of a story. You want generate enough questions that it draws the reader in from sheer curiosity. However, be careful not to overload. There is a fine line between curiosity and frustration.

Read more...

Breaking Writing Rules

I've come across several writing blogs that challenge writers to "break all the rules about writing that you can. It's the only way to be original. Rules are confining. Ignore them all."

Now pay attention, because this is important; you shouldn't write a story with the sole purpose of breaking as many "rules" as you can.
It won't make you stunningly original or creative. It will probably just make your book suck.

Granted, there are some rules that won't work for everyone. Novelists are told that the main character should grow and develop by the end of their book. For short story writers, this rule is usually unnecessary for such a short time span.

Rules are really just guidelines or suggestions; a roadmap to give you hints about where the heck you're going.

The most successful books follow the "rule" to have a beginning, a middle, and an end. Breaking that rule will, more likely than not, result in a mess of a plot.

Read more...

Writing Dialogue: Brackets

Brackets are adverbs that describe how a character said something. They have a tendency to be over-used. Brackets should only be used when the tone is not completely evident.

"I love you," she whispered quietly.

'Quietly' is unnecessary. We already know that she's speaking softly because she 'whispered.'
 Let's take a couple more examples.

"It's a book," she stated.

It's obvious that she's making a statement. We don't need to use 'stated'.

Back in fourth grade, your teacher probably told you that 'said' is boring and you need to replace it.
This isn't true.
The word 'said' blends into the background. This is a good thing. If characters are in the middle of a heated argument, you don't want to break the pace.

"I don't need your help," he hissed.
"Oh, I think you do," she remarked.
"I can take care of it on my own. I don't need you to look after me," he countered.
"Look, I'm coming with you," she snarled. "You be dead within ten minutes by yourself."
"Fine," he conceded. "But don't slow me down."
"I won't," she spat.

While some of these verbs are good, the argument itself is choppy because of all the words.  Brackets themselves should only be used when the verb is contrary to the tone.
"'I hate you,' she said angrily" has an unecessary bracket. However, "'I hate you', she said teasingly" tells us that she doesn't really mean what she's saying.
Let's try the argument again, and add some brackets;

"I don't need your help," he hissed.
"Oh, I think you do," she said.
"I can take care of it on my own. I don't need you to look after me."
"Look, I 'm coming with you," she snarled. "You'll be dead within ten minutes by yourself."
"Fine, but don't slow me down."
"I won't," she said smugly.

Read more...

Writing Prologues and Prefaces

A prologue (or preface) is a small chapter in the beginning of the book.
Yet there is a lot of confusion about how these things actually work.

To start, prologues depict events that have happened before the action in Chapter One. Usually they depict the character's childhood or an important event that happened years ago (such as the beginning of a war.)

I've noticed a lot of books where the prologue isn't used like this. Some writers think that a prologue is just an awesome scene used to pull the reader in.
Sure, it can be awesome, but if it would work as Chapter One, make it chapter one.

The prologue isn't the place where you introduce the main character or the main problem.

For example; if the prologue contains a scene where a character gets captured, then Chapter One shouldn't detail him waking up in his prison. The capture scene is Chapter One and should be labeled as such.

Read more...

Beginning, Middle, & End

There are three key elements to writing a story; you’ve got to have a beginning, middle, and an end.

Beginning: The character wants something, and gets them into trouble.

Middle: Things get worse.

End: Things get even worse, every attempt to succeed is thwarted, and then finally the character succeeds.

That's the basic plot of every book (every book I know of anyway.) It’s also, strangely enough, the recipe for a trilogy.

If you want to get a little more detailed plot outline, you could follow a plot graph.

Exposition (Beginning): The character wants something, and gets them into trouble.

Rising action: The character takes action to solve their problem and things get worse.

Climax: The most emotional part, where tension is the highest and everything is at stake.

Falling action: The problem is almost solved, but a few loose knots need to be taken care of.

Denouement (Resolution) (End): Everything is solved and the hero rides off into the sunset.

Read more...

Writing Out of Order

My preferred way to write lately has been to write out of chronological order. I’ve been jotting down whatever short scenes pop into my head.
It’s proved useful (if mildly confusing) because I tend to have blind spots when looking at how my plot will turn out. I may know what happens next, but I don't know how or why it happened. In other words, I'm missing a few stepping stones.

I’m now attempting to type up what I’ve got so far, trying to figure out how to fill the holes.
I couldn’t really gain any semblance of organization, so I filled out index cards with a short description of each scene and arranged them chronologically.
What resulted was a clear definition of what I need to type. But it also revealed that the skeletal structure of the plot is terribly frail. But that's alright, for a rough draft.

On several of them, I state the scene but then have scribbled how? underneath. I know what happens. But I can't figure HOW. For example, I know they escape from ______ but I don't know how they accomplish that.

Read more...

The Six Traits: Organization

This one's relatively short; organization means that things happen in order. Beginning, middle and end.

Writing out of order is sometimes confusung, but don't worry about putting the puzzle pieces together until you've written the rough draft .

Rubric:

The organization enhances and showcases the central idea or theme. The order, structure, or presentation of information is compelling and moves the reader through the text.

Read more...