Monday, 15 December 2014

Repost: Let Characters Be Wrong


Nobody likes a perfect character. Someone who is super good at everything and gets everything right is annoying. 

Even the most suave secret agents of indestructible superheroes need to make mistakes in order to make the story interesting.  

There are two parts to using wrongness in a story. There’s the actual mistake (which sometimes isn’t known to be a mistake at the time), and there’s the consequences of the mistake, usually forcing the character to deal with powerful feeling of guilt or regret.

Monday, 8 December 2014

Repost: The Reversal


The Reversal is a technique when things appear to be going one way, but they end up going another. It helps stories avoid being predictable and you can use it to subvert clichés. It also pulls the reader deeper into the story.

In its most familiar form a reversal is a plot twist, usually big and important. You thought the murderer was Dave, everything pointed to it being Dave. But it was BILL!

What you can do though is use it in a more simple, subtle form, to keep a reader engaged and wondering what will happen next. This is especially useful in genre fiction where readers who are familiar with the form start guessing what happens next and rapidly lose interest.

Monday, 1 December 2014

Words, The More The Muddier


Taking a seasonal break, in the meantime here's one from the vault first posted in October 2012. See you in the New Year.
The idea that the more words used the clearer the meaning becomes is one that trips up a lot of writers.

Not that additional details are always a bad thing, but the ‘a little more information couldn’t hurt’ approach is very definitely wrong. It can very much hurt.

If I want to visit you then there is a minimum amount of info (street and house number), and an optimum amount (best route, which exit to take) that I need. And then there’s an excessive amount (the name of your neighbour’s dog).

On the other hand, what difference does it make if you mention the neighbour’s dog? It’s not going to make the address harder to find.

Monday, 24 November 2014

The Parts Readers Tend to Skip


One of Elmore Leonard’s ten rules for writing was “Try to leave out the part that readers tend to skip.” Excellent advice that makes very good sense, only exactly which parts are those?

On the surface it would seem obvious—the boring stuff, the longwinded explanations and unnecessary interludes, right? We all know what he meant. But when it comes to recognising the skip-worthy in our own stories it’s never quite so clear cut.

Scenes that are really going nowhere and have no purpose being in the story aren’t too hard to spot, but the bits that are just bland or that we’ve convinced ourselves have to be there for the story to make sense, they can slip through draft after draft.

So how do you spot the skippable parts and skip them before the reader gets a chance to?

Monday, 17 November 2014

The One Piece of Writing Advice

There is a lot of advice out there for writers. Rules, guidelines, tips. Most of it has some merit, but if you were to follow every little suggestion it would be very constricting and frankly would rob you of a lot of the fun of writing.

But if you were only willing to follow one piece of advice, what would it be? Is there one piece of advice that trumps all others?

The sensible and reasonable answer is that it depends. It depends on what kind of writer you are, what your personal strength and weaknesses happen to be, what your goals are. Each writer is different, each writer may require a different blah, blah, blah. 

And that is all very true, but putting all sense and reason to one side, I say yes, there is one piece of advice which if you follow, ignoring all others, will still improve your writing immeasurably (or measurably if you happen to be particularly adept at measuring things).

Monday, 10 November 2014

Kids, Impress Your English Teacher!


My 10 year old nephew asked me if I knew of a book that taught kids how to write a story. It would be nice if this was because he already wanted to be a writer, but my nephew has no love for writing. He enjoys reading and watching movies, but when it comes to writing something himself, he’d much rather stick his face in an iPad (for several hours).

However, his English teacher keeps giving him story-writing assignments, which he finds a chore. In addition to which, there are other kids in his class who can spit out a story rat-a-tat-tat

He would also like to be able to write a good story quickly and without having to spend ages staring at a wall. 

I’m not aware of any “how to write fiction” books specifically aimed at children. So, instead, I sat him down and attempted to walk him through the basics of what makes a story a story by having him come up with something on the spot.

Monday, 3 November 2014

What Is Your Story Missing?


Let’s say you’re familiar with most of the basic guidelines when it comes to writing fiction. You know none of these suggestions guarantees a good story, but you try to apply them as much as possible. Can’t hurt right?

So you have a sympathetic main character with a clear goal, obstacles in the way, high stakes, an action-packed opening, a minimum of adverbs, active characters and you keep it all moving at a breakneck pace.

But when you show this tightly constructed thrill-ride to people whose judgement you trust, you don’t get the reaction you were hoping for. They don’t hate it, in fact they have lots of nice things to say about it, but it just doesn’t grab them.

They like the genre, have no problem understanding what happens and why, and certainly there are bestselling books out there with similar premises and characters so this sort of story definitely can work, and yet... it just doesn’t.

What is the missing ingredient? And what’s the best way to make sure it isn’t missing from your story?

Monday, 27 October 2014

Romancing the Reader

If you write a book what you would like is for the reader to fallen hopelessly in love with your characters and their adventures. Ideally they should be smitten the moment they read the title or catch a glimpse of the book cover.

As a reader, this has probably happened to you at some point. The thing you’re looking for and the thing you find intersect in a wonderful manner and you feel like the universe is tilting in your direction. Hurray!

However, forcing someone to fall in love at first sight is as impossible with books as it is in real life. It happens when it happens and, unless you’re a master hypnotist with no scruples, beyond the control of mere mortals.

But a love affair doesn’t always require an aligning of the stars and planets. Sometimes people take a little time to come around, sometimes they rush in and regret it later. And our relationships with books are no different.

Monday, 20 October 2014

Do Spoilers Spoil Stories?


No one likes the surprise to be ruined, whether it’s a book, a movie or a birthday present. Even if the reveal isn’t all that great it’s still annoying if someone blurts it out before you get to see for yourself.

But the truth is finding the solution to the puzzle isn’t what makes a story work. The identity of the murderer isn’t the reason you feel satisfied when you turn the last page. Discovering the fate of the lovers isn’t going to transform a terrible book into a worthwhile one.

We often reread books and rewatch movies and enjoy them knowing full well what’s going to happen. In fact we often know how a story is going to end even the first time round. When you read book four of a seventeen book series, exactly how much danger do you think the hero can get into, seeing as he has at least another 13 adventures to endure?

But isn’t “what happens next?’ the driving force behind getting the reader to turn pages? And if it isn’t, why do spoilers annoy us so much when we can happily revisit stories for the umpteenth time? 

Monday, 13 October 2014

The Problems of First Person Narrative

There are many articles about which is better when writing fiction, 1st or 3rd person. And most of the time they end up making quite generic points and then put the decision back in the hands of the writer without any real reason to choose one over the other.

The two main points tend to be: 1) Both can be made to work if handled appropriately (which, frankly, could be said about anything) and 2) 1st is trickier to get right than 3rd

Which is true, yet most first time writers are drawn to 1st person, while the majority of published books are written in 3rd. So why is it trickier to writer in first person? And how can you overcome these difficulties?
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