Fran Shaff's Blog - Posts Tagged "tips"
Writing Tip ABCs, Part 2, D-F
Writing Tip ABCs continues this week featuring letters D, E, F.
Let's get right to it!
Starting with D:
DESCRIPTION can be a tricky little demon to handle. How much is too much, and how much is too little? The goal is to give the reader enough information so she can get a good mental visual of a scene, person, object, etc, but we don't want to bore her, and we don't want to bog down the pace of the story.
It is usually best to filter in description a little at a time. Check out these two examples for comparison so you can see what I mean.
1. Robert wore a gray suit, white shirt and bright red tie. His black hair was heavily oiled and combed back neatly. Though his nails were neatly groomed, his hands were definitely those of a laborer.
2. Robert nervously tugged at the middle button of his gray suit jacket. "Hello," he said to a chunky, older, red-headed woman he passed in the hallway. He noticed none of the other men in the crowded corridor was wearing a tie. Would his bright red tie be too flashy for the interview? It really stood out against his white shirt. "Excuse me," he said to a tall, dark-haired man in his forties, "Could you tell me where I could find Mr. Johnson's office?" As the man gave him directions Robert ran his rough but manicured hand over his neatly arranged, oiled hair.
Description number one is efficient and short. Depending on the circumstance, it may work well in your story.
However, did you notice how active description number two is? Slipping in bits of description, connecting how Robert looks with what he's feeling greatly enhances our narrative. Readers not only see how Robert looks, they experience the anxiety he's having about how his appearance might affect the outcome of his upcoming interview with Mr. Johnson.
One more thing about description--a rule of thumb: give three facts about each character on stage in any given scene. In example two above, did you notice the brief points given to describe the woman and the man with whom Robert interacted in the hallway? The limited information about these people who are passing insignificantly through Robert's life gives us a glimpse into who they are.
Here are three important things to remember about DIALOGUE. 1. Make it sound real. 2. Be sure the dialogue is material to the scene/plot. While we real people say lots of things which are not significant, characters should not. 3. Good dialogue divulges information about characters.
Set reasonable DEADLINES for your writing projects, and be sure to meet them.
On to E:
Readers have buried themselves in your book in order to ESCAPE the hassles and problems in their real lives. Be sure to entertain them thoroughly.
Once the climax has passed END your story quickly. Be sure to tie up any and all loose ends.
EDIT your book meticulously. Your copy should be immaculate.
And finally, F:
Although they are sometimes necessary, FLASHBACKS should rarely be used. They interrupt the story, bog it down. They can frustrate readers too. It is usually better to filter in events of the past here and there so the reader has the needed information without having to be interrupted by something like: "Oh, wait a minute, I've got to tell you what happened to John ten years ago."
Unlike flashbacks, readers tend to enjoy FORESHADOWING. Giving them hints of what may be coming can make them feel more like participants in a story rather than mere observers.
People whose FEELINGS are roused while they're reading a story will be more engaged. Readers enjoy stories in which they can laugh, cry, love and get revenge along with the characters. Give readers what they want, and they'll eagerly read more.
If you'd like more Writing Tip ABCs, visit my Twitter page at: www.twitter.com/franshaff
See you next week with letters G to I.
Fran
Fran Shaff, Award-Winning Author
http://sites.google.com/site/fshaff
Let's get right to it!
Starting with D:
DESCRIPTION can be a tricky little demon to handle. How much is too much, and how much is too little? The goal is to give the reader enough information so she can get a good mental visual of a scene, person, object, etc, but we don't want to bore her, and we don't want to bog down the pace of the story.
It is usually best to filter in description a little at a time. Check out these two examples for comparison so you can see what I mean.
1. Robert wore a gray suit, white shirt and bright red tie. His black hair was heavily oiled and combed back neatly. Though his nails were neatly groomed, his hands were definitely those of a laborer.
2. Robert nervously tugged at the middle button of his gray suit jacket. "Hello," he said to a chunky, older, red-headed woman he passed in the hallway. He noticed none of the other men in the crowded corridor was wearing a tie. Would his bright red tie be too flashy for the interview? It really stood out against his white shirt. "Excuse me," he said to a tall, dark-haired man in his forties, "Could you tell me where I could find Mr. Johnson's office?" As the man gave him directions Robert ran his rough but manicured hand over his neatly arranged, oiled hair.
Description number one is efficient and short. Depending on the circumstance, it may work well in your story.
However, did you notice how active description number two is? Slipping in bits of description, connecting how Robert looks with what he's feeling greatly enhances our narrative. Readers not only see how Robert looks, they experience the anxiety he's having about how his appearance might affect the outcome of his upcoming interview with Mr. Johnson.
One more thing about description--a rule of thumb: give three facts about each character on stage in any given scene. In example two above, did you notice the brief points given to describe the woman and the man with whom Robert interacted in the hallway? The limited information about these people who are passing insignificantly through Robert's life gives us a glimpse into who they are.
Here are three important things to remember about DIALOGUE. 1. Make it sound real. 2. Be sure the dialogue is material to the scene/plot. While we real people say lots of things which are not significant, characters should not. 3. Good dialogue divulges information about characters.
Set reasonable DEADLINES for your writing projects, and be sure to meet them.
On to E:
Readers have buried themselves in your book in order to ESCAPE the hassles and problems in their real lives. Be sure to entertain them thoroughly.
Once the climax has passed END your story quickly. Be sure to tie up any and all loose ends.
EDIT your book meticulously. Your copy should be immaculate.
And finally, F:
Although they are sometimes necessary, FLASHBACKS should rarely be used. They interrupt the story, bog it down. They can frustrate readers too. It is usually better to filter in events of the past here and there so the reader has the needed information without having to be interrupted by something like: "Oh, wait a minute, I've got to tell you what happened to John ten years ago."
Unlike flashbacks, readers tend to enjoy FORESHADOWING. Giving them hints of what may be coming can make them feel more like participants in a story rather than mere observers.
People whose FEELINGS are roused while they're reading a story will be more engaged. Readers enjoy stories in which they can laugh, cry, love and get revenge along with the characters. Give readers what they want, and they'll eagerly read more.
If you'd like more Writing Tip ABCs, visit my Twitter page at: www.twitter.com/franshaff
See you next week with letters G to I.
Fran
Fran Shaff, Award-Winning Author
http://sites.google.com/site/fshaff
Writing Tip ABCs, Part 3, G-I
This week's Writing Tip ABCs proceeds to letters G, H, I.
We might as well get right to the tips!
G is up first.
GESTURES a character makes tells a reader something about him, his mood, his attitude, etc. If a character raises his middle finger toward another character we know he's made a disparaging remark, whether any dialogue is involved or not. If we read that a civilian character has given a proper salute to an army colonel, we could conclude this person has a military background.
All main characters in a story must have GOALS. Story is about characters attempting to achieve goals. If a book stars two protagonists with opposite goals, the story will be more compelling. For example, in my book "Laura's Lost Love," a love story which is set in the early 20th Century, the unmarried heroine's goal is to take in a little girl from the orphan train. The hero is tasked with denying placement of orphan train children with anyone who is not married. Hero and heroine goals are exact opposites.
Sometimes a GLIMPSE into a character's past can tell a reader all she needs to know. There is no need to do a complete psychological study on why a character won't go on picnics when all a writer needs to do is let a thought cross the character's mind. "'You want me to go on a picnic?' Joe asked. 'No thanks.' He hadn't been on a picnic since he was five and his brother Harold hid a handful of ants in his pork and beans." If the reader doesn't need to know the character had nightmares for years or that the experience caused a bed wetting problem why bore him with unnecessary details?
Up next, the letter H.
HEROES in all genres are larger than life, but they aren't perfect. Give them flaws. Make them human.
HEROINES may be demure or kick-butt women, pretty or average looking, but they, like heroes, have inner strength and human flaws.
HUMOR livens up the most serious of scenes or stories. Remember the scene in "Goldfinger" when James Bond is about to be sawed in half? Bond says to his nemesis who is watching as Bond's life is in jeopardy, "I suppose you expect me to talk." And Goldfinger replies, "No, Mr. Bond, I expect you to die."
And finally, the letter I.
INTERVIEW characters while fleshing them out in pre-writing creation. Learn everything about them so you'll know exactly how they'll react to the problems they'll face in your story.
Readers love characters who can IMPROVISE. Think James West of "Wild, Wild West," James Bond and MacGyver. A character who creatively improvises in sticky situations adds a new dimension to your story.
An INCITING INCIDENT happens near the beginning of a story. This event causes havoc in the protagonist's life and puts his/her life terribly out of kilter. It is because this event happens that the hero/heroine sets goals which are probably different from the goals he/she had when the story opened. For example, a tornado carries Dorothy's house to Oz. (The inciting incident.) Dorothy sets her goal: she wants to return to Kansas. (Before the inciting incident, Dorothy's goal was to save Toto from Almira Gulch, the nasty lady on the bike.)
If you'd like more Writing Tip ABCs, visit my Twitter page at www.twitter.com/franshaff
Next week we'll take a look at tips starting with J, K, and L.
Fran
Fran Shaff, Award-Winning Author
http://sites.google.com/site/fshaff
We might as well get right to the tips!
G is up first.
GESTURES a character makes tells a reader something about him, his mood, his attitude, etc. If a character raises his middle finger toward another character we know he's made a disparaging remark, whether any dialogue is involved or not. If we read that a civilian character has given a proper salute to an army colonel, we could conclude this person has a military background.
All main characters in a story must have GOALS. Story is about characters attempting to achieve goals. If a book stars two protagonists with opposite goals, the story will be more compelling. For example, in my book "Laura's Lost Love," a love story which is set in the early 20th Century, the unmarried heroine's goal is to take in a little girl from the orphan train. The hero is tasked with denying placement of orphan train children with anyone who is not married. Hero and heroine goals are exact opposites.
Sometimes a GLIMPSE into a character's past can tell a reader all she needs to know. There is no need to do a complete psychological study on why a character won't go on picnics when all a writer needs to do is let a thought cross the character's mind. "'You want me to go on a picnic?' Joe asked. 'No thanks.' He hadn't been on a picnic since he was five and his brother Harold hid a handful of ants in his pork and beans." If the reader doesn't need to know the character had nightmares for years or that the experience caused a bed wetting problem why bore him with unnecessary details?
Up next, the letter H.
HEROES in all genres are larger than life, but they aren't perfect. Give them flaws. Make them human.
HEROINES may be demure or kick-butt women, pretty or average looking, but they, like heroes, have inner strength and human flaws.
HUMOR livens up the most serious of scenes or stories. Remember the scene in "Goldfinger" when James Bond is about to be sawed in half? Bond says to his nemesis who is watching as Bond's life is in jeopardy, "I suppose you expect me to talk." And Goldfinger replies, "No, Mr. Bond, I expect you to die."
And finally, the letter I.
INTERVIEW characters while fleshing them out in pre-writing creation. Learn everything about them so you'll know exactly how they'll react to the problems they'll face in your story.
Readers love characters who can IMPROVISE. Think James West of "Wild, Wild West," James Bond and MacGyver. A character who creatively improvises in sticky situations adds a new dimension to your story.
An INCITING INCIDENT happens near the beginning of a story. This event causes havoc in the protagonist's life and puts his/her life terribly out of kilter. It is because this event happens that the hero/heroine sets goals which are probably different from the goals he/she had when the story opened. For example, a tornado carries Dorothy's house to Oz. (The inciting incident.) Dorothy sets her goal: she wants to return to Kansas. (Before the inciting incident, Dorothy's goal was to save Toto from Almira Gulch, the nasty lady on the bike.)
If you'd like more Writing Tip ABCs, visit my Twitter page at www.twitter.com/franshaff
Next week we'll take a look at tips starting with J, K, and L.
Fran
Fran Shaff, Award-Winning Author
http://sites.google.com/site/fshaff
Writing Tip ABCs, Part 4, J-L
Thanks to everyone who's letting me know how much they appreciate my Writing Tip ABCs here and at my Twitter page.
This week we're working on letters J to L.
J
Get your characters in a JAM immediately. The deeper they’re in trouble the more engaged readers will be.
A JEZEBEL, a wicked scheming woman, makes a terrific antagonist. Readers love to hate this archetype. Of course, like any other villain, don't forget to give this nasty person a redeeming quality or two.
A JILTED man or woman is reluctant to enter into a new romance which makes him/her a great type of character to put into a romantic novel. (Once burnt, twice shy.) A hero left broken hearted by the rejection of a woman he'd loved is going to think more than twice before giving his heart away again. And doesn't this type of situation make the titanic struggle in a romantic novel all the more compelling?
Up next, K.
Readers love KARMA in their stories. They want to see the antagonist punished and the protagonist rewarded.
The KEY holds the answer to the mystery. It’s the object everyone is after. A/k/a the MacGuffin, particularly in screenplays. Think "National Treasure." Everyone was after the Declaration of Independence. Some wanted to learn the code contained within it which would give them riches beyond their wildest dreams. Some wanted to possess it for historical purposes, some wanted the document for historical and treasure purposes. The Declaration of Independence was the KEY and the MacGuffin.
That unexpected twist in a plot is known as the KICKER. Kickers add an extra element of enjoyment for readers (as long as they’re believable).
Lastly, L
Using well known LANDMARKS as a setting or element in a plot can heighten reader involvement and interest because the locations are familiar to them. Maybe they've even visited one of these landmarks. Familiarity always increases a connection between the reader and the story, protagonists, etc. Think Devil’s Tower in “Close Encounters” or early American landmarks featured in “National Treasure” and its sequel, "Book of Secrets" or Mount Rushmore in “North by Northwest.”
Determining the LAYOUT of your plot is crucial. Events should occur in the order best suited to enhance your genre as well as your story.
Don’t neglect the LEGWORK required before you begin to write. Research, develop characters, outline, plan your plot. Writing without completing the legwork makes writing the first draft and succeeding drafts even more difficult. I know many writers like to "write by the seat of their pants," and this is okay, of course. Whatever method suits the particular author is fine. However, even if you're what's known as a "pantster" it's terribly important to know characters thoroughly and to do necessary research completely before a writer begins to write the first draft.
J, K, L completed here now. However, for more J, K, L tips, visit my Twitter page at: www.twitter.com/franshaff
Thanks!
Fran
Fran Shaff, Award-Winning Author
http://sites.google.com/site/fshaff
This week we're working on letters J to L.
J
Get your characters in a JAM immediately. The deeper they’re in trouble the more engaged readers will be.
A JEZEBEL, a wicked scheming woman, makes a terrific antagonist. Readers love to hate this archetype. Of course, like any other villain, don't forget to give this nasty person a redeeming quality or two.
A JILTED man or woman is reluctant to enter into a new romance which makes him/her a great type of character to put into a romantic novel. (Once burnt, twice shy.) A hero left broken hearted by the rejection of a woman he'd loved is going to think more than twice before giving his heart away again. And doesn't this type of situation make the titanic struggle in a romantic novel all the more compelling?
Up next, K.
Readers love KARMA in their stories. They want to see the antagonist punished and the protagonist rewarded.
The KEY holds the answer to the mystery. It’s the object everyone is after. A/k/a the MacGuffin, particularly in screenplays. Think "National Treasure." Everyone was after the Declaration of Independence. Some wanted to learn the code contained within it which would give them riches beyond their wildest dreams. Some wanted to possess it for historical purposes, some wanted the document for historical and treasure purposes. The Declaration of Independence was the KEY and the MacGuffin.
That unexpected twist in a plot is known as the KICKER. Kickers add an extra element of enjoyment for readers (as long as they’re believable).
Lastly, L
Using well known LANDMARKS as a setting or element in a plot can heighten reader involvement and interest because the locations are familiar to them. Maybe they've even visited one of these landmarks. Familiarity always increases a connection between the reader and the story, protagonists, etc. Think Devil’s Tower in “Close Encounters” or early American landmarks featured in “National Treasure” and its sequel, "Book of Secrets" or Mount Rushmore in “North by Northwest.”
Determining the LAYOUT of your plot is crucial. Events should occur in the order best suited to enhance your genre as well as your story.
Don’t neglect the LEGWORK required before you begin to write. Research, develop characters, outline, plan your plot. Writing without completing the legwork makes writing the first draft and succeeding drafts even more difficult. I know many writers like to "write by the seat of their pants," and this is okay, of course. Whatever method suits the particular author is fine. However, even if you're what's known as a "pantster" it's terribly important to know characters thoroughly and to do necessary research completely before a writer begins to write the first draft.
J, K, L completed here now. However, for more J, K, L tips, visit my Twitter page at: www.twitter.com/franshaff
Thanks!
Fran
Fran Shaff, Award-Winning Author
http://sites.google.com/site/fshaff
Writing Tip ABCs, Part 5, M-O
The Writing Tip ABCs Series continues this week with the letters M, N, O.
We might as well get right to it!
M
Characters must be highly MOTIVATED. Stakes should be high--life or death or at least a state at which life would be greatly changed in a negative way if the hero is unsuccessful in meeting his goals. If the protagonist's motivation isn't high enough, readers won't care what happens to him. In the movie "Firewall" Harrison Ford's family is held hostage while he must rob his own bank. Stakes are high--both his family's lives and his business are at extreme risk.
Writers sometimes choose words with double MEANINGS to add a special flavor to a phrase or sentence. Take a look at this sentence: Annmarie suddenly realized her stock broker, the man who'd just let her in on a lucrative new venture, had an office on the ground floor of the high rise.
METAPHORS enhance literature by making it more powerful in some way. Example: The sunset was a collage of purple, red, yellow, blue and green.
N
The NEMESIS in every story must be a strong challenger to the protagonist. Think Lex Luther vs Superman but also consider the mild mannered trustee in "Rain Man" who was Charlie Babbit's (Tom Cruse) nemesis. Luther knew how to zap Superman physically, and the trustee had all the legal power over the money which Charlie wanted so badly.
Keeping NOTES on characters, events, important facts (and minor facts too) as you write helps an author maintain continuity in her book.
A character's NAME can say a lot about him/her. Consider an Old West sheriff named Matt versus one named Percy.
O
The "point of view" character in a scene tries to meet an OBJECTIVE. His antagonist in the scene has his own objective. Watching these two opposites collide makes the scene compelling for the reader.
Though readers will expect a "happily ever after" OUTCOME for most novels, a prudent writer will enhance the HEA with something better than the reader expects.
Be sure to include the OLFACTORY system in your writing. The sense of smell is potent. Using a familiar odor or aroma can make an object, event, location, even a character more real. Tell me, don't these words conjure up some vivid images or pleasant or unpleasant associations? fresh-baked apple cinnamon pie, steaming chilli, a dead skunk on the highway.
For more Writing Tip ABCs go to my Twitter page at: www.twitter.com/franshaff
Have a great week!
Fran
Fran Shaff, Award-Winning Author
http://sites.google.com/site/fshaff
We might as well get right to it!
M
Characters must be highly MOTIVATED. Stakes should be high--life or death or at least a state at which life would be greatly changed in a negative way if the hero is unsuccessful in meeting his goals. If the protagonist's motivation isn't high enough, readers won't care what happens to him. In the movie "Firewall" Harrison Ford's family is held hostage while he must rob his own bank. Stakes are high--both his family's lives and his business are at extreme risk.
Writers sometimes choose words with double MEANINGS to add a special flavor to a phrase or sentence. Take a look at this sentence: Annmarie suddenly realized her stock broker, the man who'd just let her in on a lucrative new venture, had an office on the ground floor of the high rise.
METAPHORS enhance literature by making it more powerful in some way. Example: The sunset was a collage of purple, red, yellow, blue and green.
N
The NEMESIS in every story must be a strong challenger to the protagonist. Think Lex Luther vs Superman but also consider the mild mannered trustee in "Rain Man" who was Charlie Babbit's (Tom Cruse) nemesis. Luther knew how to zap Superman physically, and the trustee had all the legal power over the money which Charlie wanted so badly.
Keeping NOTES on characters, events, important facts (and minor facts too) as you write helps an author maintain continuity in her book.
A character's NAME can say a lot about him/her. Consider an Old West sheriff named Matt versus one named Percy.
O
The "point of view" character in a scene tries to meet an OBJECTIVE. His antagonist in the scene has his own objective. Watching these two opposites collide makes the scene compelling for the reader.
Though readers will expect a "happily ever after" OUTCOME for most novels, a prudent writer will enhance the HEA with something better than the reader expects.
Be sure to include the OLFACTORY system in your writing. The sense of smell is potent. Using a familiar odor or aroma can make an object, event, location, even a character more real. Tell me, don't these words conjure up some vivid images or pleasant or unpleasant associations? fresh-baked apple cinnamon pie, steaming chilli, a dead skunk on the highway.
For more Writing Tip ABCs go to my Twitter page at: www.twitter.com/franshaff
Have a great week!
Fran
Fran Shaff, Award-Winning Author
http://sites.google.com/site/fshaff
Writing Tip ABCs, Part 7, S-U
We've got this week's and next week's posts, and then we've reached the end of the Writing Tip ABCs series of posts. Shortly after that, I'll be discussing publishing your books right here on Cavewriter.
S
Engage the reader's SENSES, and he’ll become more involved in your story. Think about it, when you smell pine, don’t you think of Christmas, a forest, etc? Smells, sounds, locations you convey to your reader affect his involvement in a story.
Every SCENE should have a character goal which he may or may not achieve. Ending the scene with a cliffhanger propels the reader onto the next scene. If we writers succeed in doing this with all of our scenes we’ll lead the reader on a non-stop journey from the first scene to “The End.”
Where a story takes place should always be germane to the plot. Could “Gunfight at the OK Corral” be the same story if the SETTING were in Florida?
Stories usually have multiple TURNING POINTS. For example, the protagonist is going along living his normal life when 1. the inciting incident happens, and she’s got to set some new goals and make plans to meet her goals. 2. After she implements her plans, setback one happens, then setback two and so on. Each time a protagonist experiences a setback and determines she must reevaluate her goals and decide whether or not to make new goals, plans to meet them, etc. the story has likely had a turning point. Necessary turning points in stories include A. the climax, B. the dark moment, C. the resolution in addition to those cited above.
Call it drama, conflict or TENSION. If your story isn’t full of it, it’ll lack reader interest.
A TWIST is the addition of an unexpected event to a story used to heighten drama. Readers love to be surprised by logical TWISTS. Don’t contrive--be sure the twist is plausible. Foreshadowing it obscurely will add even more reader enjoyment.
U
UNDERDOGS can make great heroes. (Right Rocky?) Readers love to see a disadvantaged protagonist defeat tough odds and soar to victory.
Even in a fantasy world your story should be believable. If your tale is UNBELIEVABLE, illogical within the world you’ve created, readers will be very disappointed. I don’t know about you, but when I see a character in a movie running at top speed when he’s at 20,000 feet above sea level or when I watch one character hit another in the back with a lead pipe and in both situations the runner and the man hit by a pipe have no ill effects from the thin air or the ribs which must have been broken, it really ticks me off. Our heroes should be tough, but no human being can run at 20,000 feet, probably not even with oxygen usage. And no man can take being hit with a lead pipe at full force and not have broken bones. Superman can bounce back from almost anything because he’s Superman, and his “superness” is believable in the world where he exists.
Even though you as a writer do have the UPPER HAND in your story, readers are happier when your story is told well enough to make them feel they have the advantage over your characters at least part of the time.
For more Writing Tip ABCs go to: www.twitter.com/franshaff
Thanks, Everyone.
I'm sorry my post was late this week. I had a birthday to celebrate on Monday and didn't complete all my work--but I did have fun! :-)
Fran
Fran Shaff, Award-Winning Author
http://sites.google.com/site/fshaff
S
Engage the reader's SENSES, and he’ll become more involved in your story. Think about it, when you smell pine, don’t you think of Christmas, a forest, etc? Smells, sounds, locations you convey to your reader affect his involvement in a story.
Every SCENE should have a character goal which he may or may not achieve. Ending the scene with a cliffhanger propels the reader onto the next scene. If we writers succeed in doing this with all of our scenes we’ll lead the reader on a non-stop journey from the first scene to “The End.”
Where a story takes place should always be germane to the plot. Could “Gunfight at the OK Corral” be the same story if the SETTING were in Florida?
Stories usually have multiple TURNING POINTS. For example, the protagonist is going along living his normal life when 1. the inciting incident happens, and she’s got to set some new goals and make plans to meet her goals. 2. After she implements her plans, setback one happens, then setback two and so on. Each time a protagonist experiences a setback and determines she must reevaluate her goals and decide whether or not to make new goals, plans to meet them, etc. the story has likely had a turning point. Necessary turning points in stories include A. the climax, B. the dark moment, C. the resolution in addition to those cited above.
Call it drama, conflict or TENSION. If your story isn’t full of it, it’ll lack reader interest.
A TWIST is the addition of an unexpected event to a story used to heighten drama. Readers love to be surprised by logical TWISTS. Don’t contrive--be sure the twist is plausible. Foreshadowing it obscurely will add even more reader enjoyment.
U
UNDERDOGS can make great heroes. (Right Rocky?) Readers love to see a disadvantaged protagonist defeat tough odds and soar to victory.
Even in a fantasy world your story should be believable. If your tale is UNBELIEVABLE, illogical within the world you’ve created, readers will be very disappointed. I don’t know about you, but when I see a character in a movie running at top speed when he’s at 20,000 feet above sea level or when I watch one character hit another in the back with a lead pipe and in both situations the runner and the man hit by a pipe have no ill effects from the thin air or the ribs which must have been broken, it really ticks me off. Our heroes should be tough, but no human being can run at 20,000 feet, probably not even with oxygen usage. And no man can take being hit with a lead pipe at full force and not have broken bones. Superman can bounce back from almost anything because he’s Superman, and his “superness” is believable in the world where he exists.
Even though you as a writer do have the UPPER HAND in your story, readers are happier when your story is told well enough to make them feel they have the advantage over your characters at least part of the time.
For more Writing Tip ABCs go to: www.twitter.com/franshaff
Thanks, Everyone.
I'm sorry my post was late this week. I had a birthday to celebrate on Monday and didn't complete all my work--but I did have fun! :-)
Fran
Fran Shaff, Award-Winning Author
http://sites.google.com/site/fshaff
Get "Unblocked," Be Creative
Writers, are you blocked? Do you need a new story idea?
Get out your TV listings magazine and read the descriptions of various programs. This is a great way to find the inspiration you need to create a premise of your own.
If you've got a collection of DVDs, checkout the blurbs for the movies or TV programs. Select an intriguing premise, put some of the characters you've created into this situation and see what happens.
Checkout your stash of novels. Page through them until an idea strikes you as a good possibility for a short story or novel premise. Profile a few characters from those stories. Mix and match plots and characters and find something unique which you'd like to develop into a story.
These are great exercises in creativity. You'll find they can be a big help in getting those writing juices going. Before you know it, you're fingers will be flying over that keyboard creating a new project.
You can decide a few thousand words into your new story whether or not it's worth completing, but at least you'll no longer be blocked or devoid of story ideas.
Try it, and see how well it works for you.
Fran
Fran Shaff, Award-Winning Author
Fran's Web Page
Get out your TV listings magazine and read the descriptions of various programs. This is a great way to find the inspiration you need to create a premise of your own.
If you've got a collection of DVDs, checkout the blurbs for the movies or TV programs. Select an intriguing premise, put some of the characters you've created into this situation and see what happens.
Checkout your stash of novels. Page through them until an idea strikes you as a good possibility for a short story or novel premise. Profile a few characters from those stories. Mix and match plots and characters and find something unique which you'd like to develop into a story.
These are great exercises in creativity. You'll find they can be a big help in getting those writing juices going. Before you know it, you're fingers will be flying over that keyboard creating a new project.
You can decide a few thousand words into your new story whether or not it's worth completing, but at least you'll no longer be blocked or devoid of story ideas.
Try it, and see how well it works for you.
Fran
Fran Shaff, Award-Winning Author
Fran's Web Page
The First Steps Toward Publication
It's surprising how many people think writers only write when they're inspired.
Frankly, if we waited to work until inspiration hit, we'd probably never finish any projects.
Writing is a job much like any other job. An author sets aside time to work, and, if he is well disciplined, he'll accomplish the task of the day as scheduled.
Eventually, after weeks, months or even years, the writer has completed his book, and he's ready to submit it for publication.
Getting published is another job, separate from writing, yet, it is the goal of most writers.
Today I want to "inspire" folks who want to be published authors to take those first steps toward publication, and here they are:
1. Write.
2. Write everyday. Make time for it no matter how busy you are, no matter how many people tell you you're wasting your time. Write whether you feel like writing or not.
3. Learn more and more about the craft of writing and incorporate the helpful things you learn into your work.
4. Always strive to improve.
5. Most importantly, never--and I mean NEVER--give up, not if you want to be a published author.
Completing your manuscript is job number one for anyone who wants to be published.
Writers don't write only when inspiration hits.
We write everyday.
And we love it! [Most of the time] :-)
Fran
Fran Shaff, Award-Winning Author
Fran's Web Site
Frankly, if we waited to work until inspiration hit, we'd probably never finish any projects.
Writing is a job much like any other job. An author sets aside time to work, and, if he is well disciplined, he'll accomplish the task of the day as scheduled.
Eventually, after weeks, months or even years, the writer has completed his book, and he's ready to submit it for publication.
Getting published is another job, separate from writing, yet, it is the goal of most writers.
Today I want to "inspire" folks who want to be published authors to take those first steps toward publication, and here they are:
1. Write.
2. Write everyday. Make time for it no matter how busy you are, no matter how many people tell you you're wasting your time. Write whether you feel like writing or not.
3. Learn more and more about the craft of writing and incorporate the helpful things you learn into your work.
4. Always strive to improve.
5. Most importantly, never--and I mean NEVER--give up, not if you want to be a published author.
Completing your manuscript is job number one for anyone who wants to be published.
Writers don't write only when inspiration hits.
We write everyday.
And we love it! [Most of the time] :-)
Fran
Fran Shaff, Award-Winning Author
Fran's Web Site
