Download - All Write - Fiction Advice_ March 2012

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SA T URDA Y , 3 1 MA R CH 2 0 1 2

UseofPrepositionsAprepositionisawordwhichdemonstratesalogicalrelationshipwithotherwordswithinasentence,byhighlightingtime,placeanddirection.Theyusuallyprecedenounsorpronouns,andtheyrethekindofwordswedontthinktoomuchabout.

Takethisexample,Theenvelopeisonthetable,justunderthealcove.Thesentenceshowsuswheretheenvelopeis.Anothersimpleexampleis,Hewentouttothecarandgotin.Mostprepositionsusuallyfallattheendofasentence.

Butthethingwithprepositionsisthattherearetoomanyofthem(150),sohalfthetime,mostareusuallyunnecessary.

Itshowthewriterpositionsprepositionsthatmakethemmoreeffective.Lookagainatthesentenceabove.Itstartswiththeproposition,But.Ichosethisbecauseitbroughtthesentenceintoeffectitdirectlymadethepoint.

Mostofushaveprobablybeentaughtthatstartingandendingsentenceswithprepositionsisfrownedupon,especiallybygrammarianswhoeschewthatwordslikeButshouldonlybeusedwithinthesentence,andnottostartone.

Butthinkaboutit.

Awellplacedprepositioncanactuallybeapositiveandconstructivething.Thatsbecauseitsaverysimpletoolthathelpscreatealittlebitofdramaticeffectorsenseof

A LL WR IT E F I C T IONADVICE

IsBackstoryNecessary?CreatingLastingImagesTrustYourMemoriesReadingYourMSSOutLoudSortingFactfromFiction

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Soyou'veembarkedonyourfictionwritingjourney.

It'soneofthehardestthingstodocreateawhole,believableworldforotherpeopletoenjoy,especiallyifyou'renewtowriting.It'salsooneoftheloneliestjobs,especiallywhenthereisnohelporadviceorsupport...sorightheretherewillbehandyarticles,examplesandsimplestepbystepguidestohelpmakethecreativeprocessthatmucheasier.

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atmosphere,orwhenawriterwantstoemphasiseapointsuccinctly.

Withoutthem,narrativemightseemalittleboring.

Infact,itssometimesmorefavourabletostartasentencewithaButoranAtorOn.Theireffectcanbringgravity,brevityordirectnesstothenarrative,butthatdoesntmeanthatthewritercandropthemwhereverheorshewants.Carefulplacementcounts.Itsthecumulativeeffectoftheoverallscenethatyouneed,ratherthanjustplacingthemforthesakeofitandthinkingitworks.

Ifyouplaceprepositionsincorrectly,itwilljustmakethewritinglookamateurish.Inotherwords,dontstartasentencewithaprepositionforthesakeofit,andcertainlydontoverloadthenarrativewiththem.Thinkabouthoweffectivetheymightbefirst.Forexample:

Onthefaceofit,hewashappy.

ButJillfrownedathisexpression.

Withaderisivesnort,heturnedfromherandmadehiswayout...

Yougetthepicture.Sometimes,lessismore.

Heresanexampleofbrevityanddirecteffect:

Hewasntsurewhotheywereorwheretheyweregoingthehumanmiserycoopedupinthefoul,stainedwoodentrain.

Buthewasdeterminedtofindout.

TheplacementoftheprepositionofButcreatesdirectness,abluntatmosphereforthescene,anditalsobecomesaneffectivewaytofinishthescenewithinadeterminedstatementofintent,thusinformingthereaderofwhatisyettocome.

Heresanotherexampleofeffectiveplacement:

Hesteppedbackfromher,unwillingtoengage.

Shecouldntfindthewords...

SincewhendidJohnstartcarryingaknife?

measure.Iamprivilegedtohaveeightshortstories/poemspublishedinthisbook,soifyoulikeyourdamesalittledarkanddangerous,thisisthebookforyou.

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Thiscanbeusefulwhenaskingthereaderarhetoricalaquestion,asabove,leavingthemtopondertheanswer.

Otherexamples:

Fromsomewheredeepinhismind,hisconsciencestirred...

Bythetimethesunpokedovertheocean,threeofthemlaydead.

Beforesundown,shedberidofhim.

Allthreecreatebrevity,allthreearedirect,andallthreehelpfostertheatmosphere.

Theideaistothinkabouttheeffectofthesentenceyouwant,andthenchoosethebestprepositiontogiveyouthateffectonesthathelpmakethescene,accentuateit,butnotspoilit.

Correctlyplacedprepositionsdothefollowing:

Createdramaticeffectorflourish.Enablethewritertofinishscenes/chaptersbymakingastatementofintent.Helpheightenatmospherewithasenseofimmediacy.Makeadirectpoint.Askrhetoricalquestions.

CommonlyusedPrepositionsatthebeginningofsentences

ButByUntilOnBeforeAfterAtSinceFrom

Thekeyhereistousethemsparinglytoaddtherighteffectforwhenitmattersandtonotoverusethem.So,chuckout

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theoldpedanticadvicefromyourschoolteachers,andstartusingprepositionstoyouradvantage.Nextweek:Cleverlyplacedconjunctions.

POSTEDBYAJ HUMPAGEATSATURDAY, MARCH31, 20124COMMENTS: L INKSTOTHISPOST

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SA T URDA Y , 2 4 MA R CH 2 0 1 2

Writingisn'tjustaboutimagery...Everywriterknowshowimportantimageryis.Itswhatconnectsthewritertothereaderandallowsthemtoimaginemorethanmerewords.Butimageryisntjustaboutstimulatingthereaderbybuildingupwordsandsentencestocreatescenes.Thereismuchmoretoit.

Dontjustwrite,butfeelthewordsthatyouwrite.Thismightsoundalittlecrazy,butessentiallywritingisallaboutfeelingnotjusttheemotionsandthetensionswithinastory,butitsaboutfeelingthedepthandrichnessofthewordsyouarewriting,thesoundtheymake,thecolourstheyevoke.

Effectivewritingisalsoaboutbeingabletolistentothewords,tobeabletohearhowtheysoundwithinasceneandthereforehelpyouvisualiseeverything.Writingisundoubtedlyasensoryexperience,ifdonecorrectly.Listentoanyonereadingaloudandyouwillunderstandwhatitistolistentotheflow,thespeed,theinflectionandrichnessofwords.Thisishowwefeelthosewords.

Intuitive,attentivewriterstakeagreatdealofcareaboutthewordstheywrite,tocreatetherighteffectandtherightemotion.Itisntjustabouttellingyourreaderwhatshappeningitsaboutinvolvingthemonasmanylevelsaspossible.Theyhavetobepartofthestory,tofeelit,tasteit,touchitandsenseit.Itneedstobeasrealasitcouldeverbe.

Andwritingisntjustaboutcreatingwords,either.Itsaboutcreatingaperfectrelationshipbetweenthewriterandthewordscreated,andtheimportanceofcreatingand

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structuringthosewordsandsentencesforthereadertotrulyunderstand.

Therelationshipissuchthatsometimesweknowinstinctivelywhenwevechosentherightwords,andmomentsthatwerealisethatwevewrittenthewrongwords.Theydontfeelright.Itsonlywhentheyfeelrightthatwerehappy.

Thewordsyouchoosemakeitpossibleforthereadertolistentothewords,tofeelthenarrative,notjustreadaboutit,andtobecomepartofthestory.Howoftendoyoulistentothewordsyouwritedoesthenarrativesingtoyouwithvivid,rhythmicfluidityordoesitclompawkwardlyandlackanysenseoftempo?

Areyoursensesevokedorheightenedbywhatyouvewritten?Ifnot,thentryharderuntilitdoes.Feelthemagicofyourownwords.

Themoreyouengagethereaderandmakethemfeelthescenes,thebetteryourabilitytoillicitempathyandunderstanding,aswellasenjoymentandsatisfaction.

Somethingalreadytoucheduponinpreviousarticlesissibilance.Thisplaysahugepartincreatingsounds,andhelpsthereaderfeelthewritingithelpssupporttheimageryyoucreate.Usingthesenseswhereverpossiblealsohelps.

Iwrotetheflashstorybelow,SongofSilence,lastyear.Itcontainssibilanceandrhythm,itcreatesimagery,anditallowsthereadertofeelthewholescene.

Athousandhollow,alabasterfacesstaredoutfrombeyondthewire.Sunkeneyesandlostexpressionsfilledtheheavyatmosphere.Thesullenpatterofrainspiralledfromaslateladensky.

Ribspushedthroughtaut,parchedskin.Fingersclungtothefencelikebrokenclaws.Desperationbledfromgreycadaverskinmen,womanandchildren,strippedofclothesanddignity,stoodcrushedtogether,holdingeachotherup.

Theairstankofmisery.Fearstalkedthemuddyfieldsandstifledthebirds.

Injustunderanhour,theywouldallbedeadlifestolenby

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Writingisn'tjustaboutimagery...

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poisonousgas.

Theovensburned,ready.

AJHumpage

SomepeoplehearmusicinvariouscoloursSynethesia.Somewritershearwordsincolours,bethemdeepreds,velvetymauvesorstrikingpastels.Theassociationwithcolourandwordsisnotfarfetchedtheabilitytocreatemultidimensionalimagerythroughcoloursisnotalwaysexploredbywriters.

Anotherofmyflashfictionpieces,ABadColour,givesyouanideaabouttheuseofcolourinnarrative:

Amberslicesprojectedthroughthetrees,thehazeofthefirebegantoswell.Thehintofburntsiennawaftedclose,scorchedapathbeneaththeirnoses.

Ropefibresmoanedastheybecametaut,totempertheweight.

Shadowsappearedthroughthesmoke,circledhim.Milkcolouredrobesflappedinthebreeze,bathedbythefireglow,theirfaceshiddenbyhoods.

Redoverblackthecolouroflifeslinkeddownhisskin,snakeddownthechannelstheyhadgougedthroughhisflesh.Openvisceragleamed.

Heswungfromthetreeasthecrossburnedthepriceforbeingdifferent.

AJHumpage

Sowhenyousetouttowriteyournextmasterpiece,thinkcarefullyaboutthewordsyouwant,thewordsyouthinkevoketherightemotion,therightatmosphere,therightsound,therightimage,therightfeeling,ortherightcolours.

Writingisntjustaboutimageryitencompassessomuchmore.

Nextweek:Useofprepositions

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SA T URDA Y , 1 7 MA R CH 2 0 1 2

HowtouseSubtextFewwriterstakethetimetounderstandsubtextandthepartitplaysinastory,andyetironicallymostusesubtextwithoutreallythinkingaboutit.Itisoneofthosethingsthatmaysometimesnaturallymanifestitselfduringwriting,whileotherwriterstakethetimetopouroverwhattheywanttosubliminallysaywiththeirsubtext.

Sowhatexactlyissubtext?

Wecanbestdescribesubtextasasubtleundercurrentrunningthroughyourstory,justbelowthesurface.Itswhatremainshiddenfromobviousnotice,butitsimmersjustenoughtocatchtheattentionofthereader.Itsanunderstatedthreadthatbecomesapparenttothereaderasthestoryunfolds.

Basically,itsumsupwhatliesbeneaththestory,thosehiddenmeaningssosubtlethatitmaynotalwaysbeapparentonthefirstreading.Itstheundertonetoyourstoryhoweverthatisnottosayeverystoryshouldhavesubtext,becausethatisnotthecase.Notallstoriesdo.

Subtextissimplyawayofenrichingyourstoryorcreatingextradepthtoit.Itcouldbesomethingimpliedorhidden,somethingtodowiththethemeofthestory,itcouldbebasedthecharactersortheirdialogue,ormaybetheirthoughtsandactions,oritcouldbesomethingtodowiththeplotapoliticalorsexualsubtext,asubversiveone,andsoon.Perhapsyouwanttomakeasocialcommentaboutinjustice,inequalityorconflictetc.

Itstheimpliednatureofitthatattractsthereader,thosehiddenelementswhichgiveusdeepermeaningswithinastory.

Forexample,asimplesubtexttoalovestorywouldbetheboysattractiontothegirl,butitshiddenbyhisnegativebehaviourtowardsher,whichisharshandunfair.Thereader

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willinstinctivelyseethroughhishorriblebehaviourandknowitsreallydowntothefactthathefanciesherbutistooshytoapproachherthatway,sohehidesbehindabadboyfacade.

Whatifyouhaveacharacterthat,onthefaceofit,seemssoniceandfriendlytoallyourothercharacters,buthidessomethingaltogetherdarkerbeneathhissurface?Whatifyoualludedtothekindofpersonhereallyis,butdidsowithoutgivingtoomuchaway?

Whatifyourmaincharacterisanalcoholicindenial,andthosearoundhimdontrealise?Andasthewriter,youneverrevealit,butbyreferencingalcoholwithinthenarrativeatcertainpoints,youarelayingthefoundationsofsubtext,andthereaderwillbeastuteenoughtonoticethecluesandmaketheirownconclusionsaboutthecharacter.

BramStokersDraculais,onthesurface,aboutavampire,butthesubtextbubbleswithsexualdesireandimagery.GeorgeOrwellsAnimalFarmwasbasicallyaboutabunchofanimalsrunningtheirownfarm,freefromhumans,butthenarrativebrimswithpoliticalandsocialsubtexttheanimalswereametaphortoshowhowbadlyhumansactuallybehavedtowardsoneanother,keenlyobservedbyOrwell.

IfyouveeverreadDHLawrence,youllknowthereisastronghomosexualsubtextthatflowsthroughouthisstories,eventhoughheiscommentatingonthegeneralsocialordermiddleandupperclassesofthattime.

Buthowdoyouachievesubtext?

Subtextisabouthintingatsomethingatcertainpoints,orbyweavingdeepsetimageryandsymbolismwithinthenarrative,allwithoutactuallyrevealinganything.Youareshowingthereader,butnottellingthem.

Readerswillnoticethiskindofthing.Youmightusemetaphorstocreatecluesforthereaderinordertogetthemtoreadbetweenthelines.

Subtextcomplimentsandenrichesyourstory,butdoesntstealthelimelight.Itbringsdimensionandcomplexityandhiddenmeaning,withoutbeingovert.

Subtextisanotherwayawritercanaddextralayersof



understandingtotheirstories.Astoryisaboutmanythings,someofthemobvious,someofthemlessso.Subtextisaboutfindingthosedeeperlevelsandhiddenmeaningsandlayeringyourstorywiththem,whetheritsa5000wordshortstoryorablockbusting100,000novel.

Whicheverone,thereaderwillenjoyyourstoryallthemore.

Nextweek:Whywritingisntjustaboutimagery.



SA T URDA Y , 1 0 MA R CH 2 0 1 2

Docharactersneedgoals?Newwritersoftenaskmeaboutwhethercharactersreallyneedgoals,andmyanswerisyes,always.

Yourmaincharactermusthaveagoalotherwisethereisnobackbonetoyourstory.Theirgoal(s)formtheheartoftheentirestory,theyformpartofthereasonyourcharacterembarksontheirjourneyinthefirstplace.Thiscouldbeanythingfromsavingsomeoneslife,avertingadisaster,solvingacrime,uncoveringthetruthaboutsomethingorsomeone,rescuingthegirl(orboy),findinglove,gettingrevengeorevensavingtheworldetc.Allofthesearegoalsforwhichcharactersstrive.

Thereisonethingthatmustalwayshappeninastory,whateverthegoalthecharactermustachievehisorhergoalbytheendofthestory.Iftheydont,youwillleaveyourreaderfeelingshortchanged,andyourcharacterwillhaveachievedlittleornothingatall,becausebyachievingtheirgoalswhattheysetouttodoatthebeginningofastoryistheirpersonaljourneywhichwillultimatelychangethembytheendofthestory.

Characterswithgoalsmakeforaninterestingstory.Characterswithoutgoals,however,makelittleornostory.Ifwethinkofreallife,weallhavegoalsinoneformoranother,whethertheyarethesmalldaytodaygoals,orthegrandlifechanginggoals.Theonlydifferenceisthatwedonthave85,000wordsinwhichtoaccomplishthem.




Oneofthemainreasonsforgivingyourcharactersgoalsisthatyouaregivingthemmotivation,andwithoutmotivation,thereisnomovementwithinyourstory,andultimately,noconflict.

Goal=motivation=conflict=overcomingproblems=resolution,goalachievementandcharacterchange.

Thisshowsthatyourcharacterhastochangeinsomewaybytheendoftheirjourney,souponachievinghisorhergoalwhethertheyhavelearnedsomethingaboutthemselves,learnedaboutotherpeople,theirenvirons,orwhethertheyhavefundamentallychangedbecauseofwhathashappenedtothemtheymustbeseenbythereadertohavechangedinsomeway.

Asthewriter,youhavetoshowthereaderhowandwhyyourcharacterhaschangedastheyhavestrivedtoachievetheirgoals.Thisistheirpersonaldevelopmentjustlikeoursinreallife.

Andjustlikereallife,theycanhavemorethanonegoalwithinthestory,largeorsmall,aslongastheyarerealisticandrelatetothestory(avoidwildlyunrealisticones).

Butwhymustacharacterhaveagoalinthefirstplace?

Itgivesthecharactersomethingtostriveforthestoryhastobeaboutsomething.Havinganultimategoalformsthebackboneofthestory.Itprovidesmotivationtoachievethegoalthecharactermustembarkonhisorherjourneyforwardandformspartofthestory.Withoutmotivation,thereisntmuchpointtothestory.Itsadrivingfactortomovethestoryforwardthefactthatyourcharacterhastoreachthegoalbeittosavethegirlorfindtheserialkilleretcitmovesthestoryforwardtoitsconclusion.Itactsasacatalystforsubplotdevelopmentthecharactersjourneytowardshisorhergoal(s)mightprovidesubplotopportunitiesandfurthergoalsandsubsequentbarrier/conflictstoovercome.Itgivesthecharactersandstorypurposejustasinreallife,withoutgoalstostrivefor,thenthereisnopersonaldevelopmenttakingplace,andthesameistrueofyourcharacters.



So,theanswertothequestiondoesacharacterreallyneedgoals?Yes,always.Theyneedpurpose,theyneedtostrivetoachievesomething,theyneedtopersonallydevelopandtheyneedmotivation,becausewithoutalltheseyouwontachieveasatisfactoryresolutionorconclusiontothestory.

Nextweek:Howtousesubtext.



SUNDA Y , 4 MA R CH 2 0 1 2

TurningPointsinNovelsWeoftenhearaboutturningpointsinnovels,butwhatexactlyaretheyandhowdotheywork?

Aturningpointisadefiningmomentwithinthestory,andofteninvolvesthemaincharacter.Invariablyitinvolvesahighmomentoftensionandactionandmaybefollowedbysomesortofresolution.Thisdoesnthavetohappenattheendofthenovelthatstheclimax,thedenouement,anditisverydifferentfromaturningpoint.

Turningpointscanhappenatthosemomentsyourcharacterhasanepiphany,theylearnsomethingsignificant,orsomethingveryimportantisrevealed.Perhapsthestorygoesinanotherdirection.Sometimesaturningpointcomeswithachangeofdynamicssuchasseriouseventsthathappentocharacters,theirdarkestmomentsthroughsomethingterrible,oritmightinvolveachangeofmomentum,i.e.steppingupagearwithfastpacedaction,thustakingthecharacterinacompletelynewdirection.

Turningpointsareabouttheexperiencesanddramaticeventsthathappeninthestoryasyourcharacterworkshisorherwaytowardstheendofthenovel.

Notonlythat,butturningpointsactasawaytomoveyourstoryforward.Theyarehighlyvisualwaystoshowthereaderthechangesthatyourcharactersundertakeontheirjourneyandhowthoseexperienceschangethemasthey




worktowardsthefinaloutcome.

Thebestwaytolookatitisthisyourcharacterbeginsajourneyinyournovel,walkingalongroadandnotknowingwhereitmightend,butthatroadisneverstraight.Itsfulloftwistsandturnsandhighsandlows,andsometimesitreachesforksintheroadthisiswherethestoryturnsandyourcharactersactionsformpartofaseriesofeventsthatwilleventuallyculminateinthefinalscenesofthenovel.

Thesekindofsignificanteventsdonthavetobeonagrandscaleeitherlikebigactionscenesbutinsteadtheycanbesubtleemotionalevents,theycanbesmallthoughtprovokingevents,theycanbequietmomentsofrevelationhoweversmallorlarge,theyletthereaderseehowyourmaincharacterisevolvingwithinthestory.

Byplantingtheseturningpointsthroughoutthestory,youcankeepthereadersinterest,youcanheightentensionandvarythepaceandyoucanmovethestoryforward.Theyenableyoutotakethestoryinanewdirectionyoucanrevealinformationandchangeyourcharacterslivesandsoon.

Eventually,allthesedramaticeventsbuilduptofinallyculminateintheclimaxofthestory.

Whatthoseturningpointsmaybeorwheretheyappearwilldependonthekindofstoryyouaretelling.Maybeyourcharacterfindsoutthatthemanwhokidnappedhiswifeisreallyhisbrother...orthecarhesbeendrivingaroundinformsthecluetoamurderinvestigation...perhapsyourcharacterdiscoversadoptionpapersstashedawayinanattic...ormaybeyourcharactersimplyhasdodecidetofightforwhatheorshebelievesin...

Whatevertheyare,theyshouldcomenaturallywiththeprogressionofyourstoryandshouldneverbeforcedtoillicitdramaticeffectthiswillprovecounterproductiveandstiflethecreativityofthewholepiece.

Studyanynovelandyouwillseethatbytheendofthestorythecharacterhaschangedinsomeway,theyhavediscoveredsomethingaboutthemselves,theyhaverealisedorlearnedsomething.Thatsbecausealltheturningpointsalongthatjourneyhaveshapedthecharactersview,andtheirfinaloutcomeattheendofthenovel.



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Everystoryneedsturningpoints,becausewithoutthem,themaincharacterwontevolve,thereaderwontlearnaboutthestoryandthestorywontactuallymoveforwardinaseamless,naturalway.

Turningpoints:

DecisivechangeRevelationsCharactersepiphanyActionoremotionalscenesDarkestmomentsChangeofpaceDefiningmomentsAllowsthecharactertoevolve

Nextweek:Doesacharacterreallyneedgoals?

POSTEDBYAJ HUMPAGEATSUNDAY, MARCH04, 20124COMMENTS: L INKSTOTHISPOST


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