Monday, 25 August 2014

Dramatic Action Is More Than Doing Stuff

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Often the reason a scene doesn’t work, or doesn’t seem to have any life to it, is because what’s happening in the scene isn’t very interesting.

People may be doing things, moving around, attempting to reach their goals, but how they’re going about is too straightforward or too easy.

There are various ways to achieve things in life that are reasonable and sensible. You want to be a doctor, you go to medical school and study hard. If you portray that within a story it may feel realistic and true, but it won’t be very gripping.

There is more to a good story than holding a mirror up to life.

Monday, 18 August 2014

Interesting Characters: You are what you eat

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Story is viewed differently by the writer than it is by the reader.

A writer knows what kind of person he is writing about, and uses that to inform what that character does on the page.

A reader knows what a character does and uses that to understand what kind of person that character is.

Both are looking at the same thing, but from different ends. The thing they are both looking at is this: what people do reveals the truth of who they are.

But truth and fact are NOT the same thing.

Monday, 11 August 2014

Action Stations!!!

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There are some basic rules to writing action in fiction that are straightforward and make sense. Keep sentences short to add pace. Be clear and use simple language when describing complicated moves. Show don't tell.

This doesn’t just apply to fights and chases. Any confrontation, any physical movement, any visual scene will have an action element to it. However, you can’t just replicate Hollywood movie visuals, the picture in the reader’s head won't automatically have the same impact as stunt-work on the big screen. You have to find a way to translate what's on the page into an emotional experience for the reader.

Monday, 4 August 2014

Rewriting: Longer, Faster, Harder

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This post specifically relates to getting from the first draft to the second draft. This rewrite is key to the whole rewriting process. Further down the line changes in small details and polishing of the text become important, but at this stage the transition from raw material to story-worthy narrative is what’s going to keep you interested in coming back time and again in order to get the story told. 

By establishing exactly what the story is about now, you can save yourself a lot of trouble later.

Monday, 28 July 2014

Don't Overstuff Your Verbs: Unpack

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There are time when it’s obvious an adverb is unnecessary. 

He ran quickly to the phone. It’s redundant to have quickly in there, running already implies speed, so you should cut it out. He ran to the phone. 

Sometimes it’s perfectly fine to use an adverb (no, really , it is). An adverb is a modifier, and if you’re modifying the verb in an unexpected way that changes the meaning of the verb it can be a useful tool. Examples: 

She smiled sadly.
His arm was partially severed.
He whispered loudly. 

But most times the adverb is modifying the verb in a way that there is already another word for. Examples:

Monday, 21 July 2014

Build a Story, but Leave the Door Open

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People tell stories every day and it is fairly easy to tell the difference between something worth listening to and something that is just small talk. It is a natural ability we all have, to know when something that happened is going to be of interest to others.

Do you want to know why the guy at work locked himself in an office and refused to come out until the police came and broke the door down? Or do you want to know what I had for lunch? You don't know the answer to either, but one is more of an unusual occurrence than the other, and that's what draws our attention.

When writing a story it is just the same, although often it may not feel like it.

Monday, 14 July 2014

Your Book In One Sentence

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I'm taking a break for the summer, but in the meantime I'll be reposting some of my old articles you might have missed. Here's one from last April.
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When someone asks you what your book is about, it can be a very difficult thing to sum up in a line or two.

Even after you’ve finished it, capturing the essence in a way that does it justice can be more frustrating than writing it in the first place. I usually end up rambling like I have no idea what I’m talking about.

Not only would it be very handy in social situations, but also professionally. A clear concise way to tell people about the book in a way that lets them know what it’s about, but also hooks their interest in some way.

So how do you do that?

Monday, 7 July 2014

Making Characters Face Their Demons

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In real life people have many different problems to deal with. In fiction, characters tend to have the one problem. They struggle to deal with it but it’s always there, affecting them and the story you’ve put them in.

This is necessary for fiction, otherwise things would be too vague and woolly. We need the cop to be an alcoholic, the kid to be scared of going to school, the woman to be obsessed with getting married, and so on. It doesn’t really matter if their issue is one we’ve seen before (like the ones I’ve just mentioned), because it isn’t the actual problem that people are interested in, it’s how it’s dealt with.

Which means you have to show it being dealt with.

Monday, 30 June 2014

Life, Plot, Story

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A story is more than stuff that happens to a person. And yet, if a friend were to tell you something that happened to them at work or at school or wherever, you wouldn’t be uninterested.

In fact, if it was something amusing or surprising or touching in some way, it might even be quite compelling. This incident might involve coincidence, luck, randomness and have no real conclusion, but that won’t necessarily stop you hanging on every word.

However, put that same story down in print, and it doesn’t have quite the same effect. Now it’s contrived and pointless and banal.

Why? What makes fiction—whether it be a short story or a novel—different from real life? And how can we use this difference to help create more engaging and entertaining stories?

Monday, 23 June 2014

Tricking The Reader By Choice

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No story is full of high drama all the time. Sometimes you’re setting things up or dealing with the aftermath of some event, and the characters are on their own or in a non-volatile situation.

Introducing a problem or a struggle at this point, even a small one, often helps to keep the narrative interesting, but there are times when you don’t want your character to be fighting battles or solving puzzles.

So how do you turn a mundane moment into something more gripping without resorting to enemies to battle or mountains to climb?
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