Sometimes, I just can’t say it better than my fellow bloggers, and since it’s been a while since I’ve compiled a ‘list of things I like’ kind of post (in fact, I don’t think I’ve done it since the very first post I ever wrote for Penstricken; sigh) I decided that it was about time I did another one. And what better thing to list than some of the best story-writing related posts from other blog sites that I have found particularly useful or insightful in recent weeks.
In reality, there’s dozens of writing and fiction related blogs I like to read on a regular basis and there have been numerous posts I’ve read lately that I could include in this list. I could not even begin to list them all. This is just a selection of some that I have recently come across (not necessarily ones that were written recently) which proved invaluable to me.
I’m in a cliché sort of mood today and since I don’t want to burden the novel I intend to work on this afternoon with clichés, I’m afraid I’m going to burden you with them instead. Behold, my Ten Writing Commandments, predictably humorously written in a crude approximation of ‘King James English’ and with helpful expositions of each rule.
Most of these rules are as old as the hills and are probably familiar to you. I am not, for one second, claiming to have invented any of these rules. However, this is a compilation of ten writing precepts, from a variety of sources, that I have found to be particularly useful to me. I should add that the expositions I have included are all my own.
In fiction, as in life, conflict between two characters often leads to fisticuffs. It can be an exciting moment in your story where the tension finally erupts and your audience are beside themselves with anticipation of what the outcome will be… Or it can be tedious, pedestrian, predictable and downright boring.
I am thinking particularly of fight scenes in novels, short stories and other forms of written fiction, since fight scenes in film and theatre are (at least to some extent) more a matter of choreography than writing. As a reader, I often find that even in the best books, it is badly written fight scenes that can really ruin my enjoyment of the story, whether it’s a quick wrestling match between two minor characters or an epic battle between ten vast armies of elves, dragons, wizards and goblins. It’s not that I think fight scenes are unimportant (sometimes they’re necessary) or unexciting (well-written ones can be thrilling); they’re just difficult to get right.
I was recently sitting at home with my wife when it occurred to me that if one of my schoolmates (whom I haven’t seen in years) hadn’t gone on holiday to Spain in 2002, I would never have got married more than a decade later…. A leads to B which leads to C, all the way up to Z and beyond. This is what happens in real life. In fiction, this needs to be compressed into a backstory. Where did your character come from? Who influenced them as he was growing up and throughout his life up until this point? And most importantly of all: what is that defining moment in their past that made them who they are today?
However, simply having the right tools for the job does not an author, make. While Scrivener did provide the resources to easily research, plan and write my novel in an organised way, I was not getting the most out of it at first because I wasn’t bothering to do any proper planning. I was just writing mountains of narrative; something I could have done for free on OpenOffice. However, not to be deterred from my dream of finishing that novel, I (a natural ‘pantser’) decided that I had to become a ‘planner’ to take my writing to the next level.
It was the right decision but it was still an unnatural transition for someone used to the freedom of ‘pantsing’. I decided in advance, therefore, to stick to a simple three-staged approach…
Have you ever had a really great idea for a story that somehow seemed to die a little more with each word you tried to write? Ever had a thrilling plot with no obvious holes in it that you just couldn’t seem to get off the ground? Perhaps, in addition to your thrilling and seamless plot, you also constructed a world so detailed, so complex and so marvellous that it would give Terry Pratchett and J.R.R Tolkien a run for their money; an antagonist whose diabolical scheme is sure to keep the reader on the edge of their seats; you’ve even managed to weave in a romantic subplot (which admittedly still seems a little half-baked, but it’s showing real potential)… and yet still, you just can’t seem to really ignite all that hard work into a half decent manuscript.
If any of this sounds familiar, there’s a good chance that your story is suffering from a chronic case of what I have dubbed Phantom Protagonist Syndrome (PPS).
My novel was going nowhere (although he’s feeling much better now, thanks) and I noticed someone on Twitter remarking that they had just signed up for Camp NaNoWriMo.
Ah-ha! I thought, Now’s as good a time as any to give this whole NaNoWriMo lark a bash. Maybe it will help me complete my novel…
I was very excited about it. I was going to make progress and lots of it! I joined a cabin so that I could compare notes with other like-minded writers; I read all the useful ‘camp care packages’ that were sent to my inbox, full of useful advice to help me make the most of Camp NaNoWriMo; I perused the forums and all the articles full of helpful writing tips…
The one thing I did not do was write my novel.
My main problem with Beyond was the pacing of the plot. It was fast and exciting almost from the outset, but as any good writer will tell you, speed and excitement cannot make a good story alone. Slower scenes, rich in dialogue and other details are important to allow for a build-up in suspense and to keep the audience abreast of what is actually going on. In particular, these slow scenes are essential for adding substance and meaning to a story.
Every now and again I hear authors, publishers and other would-be writing gurus all saying the same thing: it is very important to know exactly who your audience is before you write. I don’t mind telling you that every time I hear that, I groan. I don’t like to be restricted by boring things like that; I just wanted to write my story. Let the publisher worry about how they’re going to market my story: I am creating a work of art, darling!
Believe me, if you ever feel that way, you’re not alone. But lately I’ve learned that knowing who your audience is is just as important to the artistic side of writing (the most important part, surely?) as it is to the boring business side of things.
The death of a main character can easily be one of the main turning points in your story. A skillful author can use it to provoke any number of responses from all of the other characters, as well as further taking the reader’s sympathies in almost direction you like. Don’t spoil it or cheapen it by killing characters unnecessarily. If you’re going to kill a character then I implore you… don’t remove the fear of death from your story. Make sure dead characters stay dead, no matter how difficult it makes things for your other characters and be sure to do the proper ground work to get the correct response from your audience.