Blog Archives

L is for Linear

5/31/2011

Linear writing deals with plotting your novel. The sequence of events happens in order, most of the time, but that doesn't mean your book needs to appear linearly. If a book is too linear, it reads predictably and even when writing formulaic stories such as mysteries or romances, you can keep your reader guessing by inserting some unpredictable action or subplot.

By adding in other characters who emphasize the themes of your story, you can add depth. This serves a double purpose by also adding tension. If you're writing a romance, for example, you have the couple together then apart, then bring them together perhaps a couple of times before the happily ever after ending. If you add in a subplot with separate characters who also have a relationship you highlight the romance angle and delay the reader's satisfaction of finding out what happens next. The tease is most always going to keep your reader turning the page as long as it eventually pays off.

Sometimes during the early drafts a writer might not be able to see where all the clues and tension can be instilled for greatest effect, but can address this during revisions.

A good editor will be able to assess your story to give you feedback on where you can improve this angle of your writing.

Questions? Comments? Leave it here or email me at authorsassistant@hotmail.com.

Writing is a step by step process. Whatever step you're on, enjoy, learn and celebrate!

0 Comments

K is for Kill Your Darlings

5/27/2011

0 Comments

This advice is much given, much misunderstood and much attributed. It's been attributed to Faulkner or Twain.

Some people will claim it means you need to literally kill off a character (and all our characters are our darlings).

I'm in the camp that it means sometimes you have to kill a scene, sentence, or section you've slaved over and are attached to, but it doesn't serve the story.

Should the darling be killed? Things to consider when considering murder:

Is it in character? Does the section or scene elaborate on the character? Is the person acting in character, and if not is there a reason. Character transformation sometimes means the character does act differently, but in evaluating the darling, the new behavior should be a natural outcome of the previous action.

Are you overwriting or overexplaining? If you've shown the character, setting, or plot in other areas, you may not need to restate it.

As always, how you choose to implement this suggestion comes down to being objective about your own writing. Sometimes this is difficult. If your darling is one you feel strongly about, give it some time, a few days to a month or so and then go back and review the scene in question. If you feel it serves the story, then leave it, if not, take it out.

I'd love to hear your thoughts. Have you ever had to kill a darling? What was it, how did you feel afterward? Comment here or email me at authorsassistant@hotmail.com

0 Comments

J is for Jumpcut

5/25/2011

0 Comments

Jumpcut - You might think it refers to the movies, and in one respect it does. My other half is a video editor and jumpcuts - those little blips that occur when the editor has to delete something, a flub or technical bit that doesn't belong results in a sudden cut. You know something isn't quite right as a viewer. Another type of jumpcut is the intentional cut to jump to another scene in time or location. We see these all the time in movies.

The second type of jumpcut provides an opportunity for you to move the story forward by thrusting the reader into another scene in time, character or place. If you leave a reader hanging on the cliff with your hero at the end of one section then jump to another character or subplot, it delays the action. While this might seem unfair to the reader, it's the kind of page turning technique that, when done effectively, will keep the reader pushing forward to find out what happens. It's an appropriate technique for both fiction and non-fiction stories.

Teasing the reader in a tantalizing way whets their appetite for your story. They'll be screaming for more.

So when revising, look for places you can jumpcut and propel your reader to the next page or chapter.

I'd love to hear your thoughts. Comment here or email me at authorsassistant@hotmail.com

Happy Writing!

0 Comments

I is for I, me, myself

5/23/2011

0 Comments

To start off, please accept my apologies for the long absence. The last couple of weeks sped past without a post update.

I is one of those overused words. When I taught literary analytical writing, I'd often try to get students to reduce or eliminate the I from their writing. It's not a bad practice for most writing, even fiction. If you can find a way, even when using first person, to remove I in the sentence, you'll find your writing and descriptions become stronger.

A quick, useful exercise is to write a passage-try four hundred words-without one use of the pronoun I, me myself, mine, my. It's a challenge, but you're up for it aren't you? Remember, the key is to get your character across without the self-reference.

You may find your writing stilted at first, as it's an effort to word things without the I, but it's a good exercise. Of course, you wouldn't write a whole piece this way, it ends up being clunky and forced, but to find ways of stating your point without I invigorates your description.

By the way, this is one of those things that is definitely not meant to be a "rule" of any kind, merely a heads up on one way to add variety into your prose.

If you choose to do the exercise and wish to have some feedback, please leave it in the comments below or email me at authorsassistant@hotmail.com

Happy writing!

0 Comments

I is for I, me, myself

5/23/2011

0 Comments

H is for Hook

5/4/2011

0 Comments

Hook em early and keep them turning the page. A good hook will introduce your character and situation. You want to intrigue your reader to read past page one.

DO Make it unique to your voice and style. The opening pages will be your first impression on the reader, agent or publisher. Make them shine. It shouldn't outshine the rest of your story though, it should be one of those matches made in heaven. Have you ever read a book where the opening pages hooked you, but it didn't fulfill the promise? If so, you know how important it is that the promises you make in the opening pages bear out for the remainder.

DO Fit your opening to your genre and audience. If you're writing a romance, there needs to be a hint of the hero and heroine at the outset, where they are in life and what's going to bring them together. Depending on your story they may meet in the first page but definitely by the first chapter or two. If you're writing a mystery, you most likely want to pose the question or mysterious event early on. You may have the next Joe Friday, but if you spend the first pages just describing him without including the mystery, you risk losing your audience.

DO Use dialogue openings sparingly. This one is sometimes a pet peeve for agents and editors, but it depends on the story. As with most rules, it can be broken for effect. If you do choose to break this one and open your story with dialogue, be sure it sings, and identify your speakers. Opening a book when you don't have any idea who the characters are and why they're saying what they're saying can annoy readers. See more about dialogue below under 4/22/11 post.

DON'T Be cliché. Starting with a character waking up may not get your reader to open their eyes to your great story.

DON'T Start with a lot of description. While you need and want to give the flavor of your setting, opening paragraphs of lush description often aren't dynamic enough to capture the reader, unless you do it exceptionally well. Often it can be weaved into the narrative as you open the action of your story. The inciting incident (more on that later).

Some last thoughts:
Whatever you choose to open with, be sure you make it sparkle.

Questions or Comments on this please leave a comment or email me at authorsassistant@hotmail.com

0 Comments

L is for Linear

K is for Kill Your Darlings

J is for Jumpcut

I is for I, me, myself

I is for I, me, myself

H is for Hook

Tamara Eaton

Archives

Categories