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Articles about craft.

Understanding the Flashback—Bending Time as a Literary Device

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This post by Kristen Lamb originally appeared on her blog on 6/15/15.

Last time we talked about flashbacks and why they ruin fiction. But, because this is a blog and I don’t want it to be 20,000 words long, I can’t address everything in one post. Today, we’re going to further unpack “the flashback.” I think we tend to use broad literary terms to encompass a lot of things that aren’t precisely the same things, and in doing this, we get confused.

In my POV, the term “flashback” is far too broad.

We can mistakenly believe that any time an author shifts time, that THIS is the dreaded “flashback” I am referring to and the one I (as an editor) will cut.

Not necessarily.

We need to broaden our understanding of the “flashback” because lumping every backwards shift in time under one umbrella won’t work.

My favorite example is the term “antagonist.” I’ve even been to conferences where experts used the terms “antagonist” and “villain” interchangeably as if they were synonyms, which is not the case. A villain is only one type of antagonist. It creates a false syllogism. Yes, all oranges villains are fruits antagonists, but not all fruits antagonists are oranges villains.

 

Read the full post on Kristen Lamb’s blog.

 

How to Write Character Reaction Patterns

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This post by David Wiseheart originally appeared on Character Secrets on 3/20/15.

Writing teachers, story coaches, and screenwriting gurus often say:

“Story comes from character.”

Or:

“Story is character.”

And that’s true.

Unfortunately, these writing teachers rarely go into detail about what that actually means.

Or how it works.

Well, I’m about to show you exactly how it works.

 

Master the Pattern, and You Master the Game

In a story, when a character is confronted with a major stress, they react.

How do they react?

Characters react to major stresses in ways that are both unique and predictable.

There are patterns.

I call them character reaction patterns.

If you know a character’s type, then you can know how they will tend to react to major stresses.

Knowing these patterns can help you to write or re-write your story.

If you’re outlining a plot, you can use these patterns to come up with new scenes. This can be a huge help in plotting your screenplay or novel.

 

Read the full post on Character Secrets.

 

How to Create a Believable Fictional Universe

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This post by Georgina Roy originally appeared on e-Books India on 6/11/15.

A fictional universe is the world where your story takes place. Your story can happen anywhere from prehistoric Earth, to a futuristic world filled with flying cars and funny colored aliens. Even if you decide to set up your story in modern day Earth, it is still a version of Earth that will exist only in your imagination. However, sometimes we can get carried away when creating our stories and come up with worlds that are so extravagant and extraordinary they cross the line of logic and become unbelievable. This is why there are some things that you, as the writer, have to think of when you’re creating your world.

 

1. Decide on a theme

What kind of a world do your characters inhabit? Modern day Earth, a fantasy world, or do they live in the distant future or outer space? This is important because not only do you have to find the way your world figures into the plot of your novel, but it will also determine your target audience and the genre of your book. The crucial thing to remember is that you have to stick with the theme throughout your book. The world building is always a mark of a great book, and that means that the theme has to be consistent on every page of your novel.

 

Read the full post, which includes four additional specific steps, on e-Books India.

 

“Let's Talk About Genre”: Neil Gaiman And Kazuo Ishiguro In Conversation

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This conversation between Neil Gaiman and Kazuo Ishiguro originally appeared on New Statesman on 6/4/15.

The two literary heavyweights talk about the politics of storytelling, the art of the swordfight and why dragons are good for the economy.

Neil Gaiman’s New York Times review of Kazuo Ishiguro’s latest novel began a debate about the borders between fantasy and literary fiction. For a special issue guest-edited by Neil Gaiman and Amanda Palmer​, the New Statesman brought the pair together to discuss genre snobbery and the evolution of stories.

Neil Gaiman Let’s talk about genre. Why does it matter? Your book The Buried Giant – which was published not as a fantasy novel, although it contains an awful lot of elements that would be familiar to readers of fantasy – seemed to stir people up from both sides of the literary divide. The fantasy people, in the shape of Ursula Le Guin (although she later retracted it) said, “This is fantasy, and your refusal to put on the mantle of fantasy is evidence of an author slumming it.” And then Michiko Kakutani in the New York Times reviewed it with utter bafflement. Meanwhile, readers and a lot of reviewers had no trouble figuring out what kind of book it is and enjoyed it hugely.

Kazuo Ishiguro I felt like I’d stepped into some larger discussion that had been going on for some time. I expected some of my usual readers to say, “What’s this? There are ogres in it . . .” but I didn’t anticipate this bigger debate. Why are people so preoccupied? What is genre in the first place? Who invented it? Why am I perceived to have crossed a kind of boundary?

NG I think if you were a novelist writing in 1920 or 1930, you would simply be perceived as having written another novel. When Dickens published A Christmas Carol nobody went, “Ah, this respectable social novelist has suddenly become a fantasy novelist: look, there are ghosts and magic.”

 

Read the full conversation on New Statesman.

 

The 10% Rule – Or How Stephen King Made Me A Better Writer

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This post by Erin Whalen originally appeared on her site on 8/25/15.

When I was a kid, I was a HUGE Stephen King fan.

I read The Shining in grade four. Carrie and Salem’s Lot and The Stand in grade five. Cujo in grade six. (Still can’t bear to think of the ending to that one.)  Different Seasons in grade seven. Christine in grade eight. And so on…

As I grew older and developed an appreciation for books that strove to do something more than scare the pants off people, I left Mr. King’s works behind. But I’ve always had great appreciation for his ability to create compelling characters and spin a yarn that could captivate and terrify me and leave me wanting more.

So when a friend recommended his book On Writing, I decided to check it out.

Turns out Mr. King’s book on the writing process is just as captivating as his novels. He offers fabulous advice and a compelling account of his own experience of becoming a writer and honing his art.

One of the best takeaways I got from his book was “the 10 percent rule.”

It goes like this:

Whenever you finish a piece of writing, check its word count then go back through it and ruthlessly remove at least 10% of the words.

So if it’s a 750-word article, delete 75 words. If it’s a 500-word article, take out 50 words, etc.

 

3 Tips on How to Shrink Your Word Count

As you implement the 10% rule, you’ll become aware of words in your writing that don’t add essential meaning to what you’re trying to say.

Here are 3 specific examples to look for:

 

Read the full post on Erin Whalen’s site.

 

The Mystery Writer's Toolbox

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This post by by Shannon Roberts & Renni Browne originally appeared on The Editorial Department on 4/21/15.

A look at what’s inside and its relevance to all genres

Questions. Motives. Clues. Red herrings. Villains. Suspense.

All of these are elements in any good mystery. And all of them should be elements in your novel—whether it be science fiction, literary fiction, family or historical drama, horror, romance, or something else entirely.

Any good story is driven by QUESTIONS, the most important being: What do the protagonists want? Why can’t they have it? Then there’s the villain—what drives your antagonist? If there’s a MacGuffin, who will find it—and how? Why did the brother do that? What is the secretary hiding? And so on.

This gets us to MOTIVE. It isn’t just for cops and crooks—it’s for every character in every story. All of your characters have (or should have) interesting motivation for what they do, and often those motives are mysterious to the reader. Wanting to figure them out or understand them is part of what keeps us reading, so you want to keep at least some of your characters’ motives hidden. Your protagonist, of course, needs to be highly motivated—and being a hero or a heroine is not a motive.

Protagonists should have a personal stake in events of the story—they or someone close to them is in danger or vanishes, something of great value to them has been lost or stolen, a horrific secret needs to be uncovered or kept secret. Such stakes most often show up in mysteries, but the principle is just as important for fiction in other genres. Make the stakes high and personal for your main character.

On to CLUES—how they work and why you need them.

 

Read the full post on The Mystery Writer’s Toolbox.

 

In a Rush to Publish? Better Ways to Shave Off Time

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This post by Elizabeth Spann Craig originally appeared on her site on 6/5/15.

There has been a good deal written about the need for self-publishing authors not to be in a rush to publish. And yet, there has been a good deal written about the need for self-publishing authors to quickly produce for financial success.

These bits of advice aren’t really as contradictory as they seem. The time to move things along, I believe, is when we’re writing. The time to be thoughtful and unhurried is during the packaging process…the editing and cover design. The finishing touches need time.

What can we do to make our writing go faster? Here are some things that have helped me:

 

On a daily basis:

Know what you’re going to write that day (at least the plot points).

Think about where you left off and what you’re going to say next before you open the laptop (I mull things over in the mornings as I let the dog out and as I’m making myself coffee.

 

Read the full post on Elizabeth Spann Craig’s site.

 

A Study of Reading Habits in the Age of Aquarius, or, The Novel as Time Machine

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This post by Greg Olear originally appeared on The Weeklings on 3/4/15.

i.

IN MARCH OF 2011, I was on a panel with three other novelists at the Quais du Polar literary festival in Lyon, France. We were there, if memory serves, to talk about strong female protagonists in crime fiction, but the discussion wound up encompassing much more than that. At one point, we were asked about the utility of the novel. In a century of smart phones and dumb tweets, with attention spans shorter than ever, what possible purpose could such an analog medium serve?

I had no ready answer for such an existential question. Fortunately, the French novelist Sylvie Granotier was prepared. It is exactly the analog nature of the form that makes the novel so necessary, she said. In a world of ADHD, she explained—in English as fluent as my French was not—the novel, alone among the art forms, demanded more, not less, attention from its readers. Only the novel could combat the erosion of our collective ability to focus. And it did this by insisting that its readers move at the deliberate pace set by the novelist.

“The power of the novel,” she said, “lies in its ability to stop time.”

 

ii.

In his column in The Believer some years ago, Nick Hornby wrote in praise of the short novel—the work of fiction that, as he put it, if you start reading when the plane taxis along the runway at LAX, you will be just wrapping up as the wheels hit the tarmac at JFK. His novels all meet this criteria. So do mine. Indeed, the lion’s share of fiction churned out by the big publishing houses seems to be written with the sole purpose of amusing the bored business traveler.

 

Read the full post on The Weeklings.

 

5 Ways to Get Early Feedback on Your Book Idea or Manuscript

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This post by Nina Amir originally appeared on The Book Designer on 5/27/15.

Gathering reader feedback on your manuscript before you to print might be the most valuable step you can take toward producing a successful book. You can obtain this information in a variety of ways depending upon how you choose to write your manuscript.

In fact, you can even get early feedback before you write your book. This type of test marketing can save you a lot of time and energy spent producing a manuscript that might never sell.

The goal of getting early reader feedback on your book idea or manuscript is simple: Incorporate the valid suggestions you receive to help you craft the best possible book.

The following five strategies provide you with the means to get beta readers or reviewers for your ideas and your work. Each has a different set of benefits, and each is useful at a different stage. Choose one that suits your style, your point in the book-production process and the work at hand.

 

1. Blog Your Book

The main benefit of blogging a book, purposefully writing your book post by post on your site, comes from the author platform you build by doing so. As you produce the first draft of your book on the Internet, you gain loyal blog readers and subscribers. They are your potential book readers or buyers even though they have already “bought into” reading the first draft of your book—your blogged book.

 

Read the full post on The Book Designer.

 

Thoughts On The Unreliable Narrator

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This post by Susan Crawford originally appeared as a guest post on Writer’s Digest on 5/15/15.

Dana is the main character in my book, The Pocket Wife. She is bipolar and off her medication; she’s also going through lots of “stuff,” and this toxic mixture is beginning to bring on a manic episode. In Chapter One, Dana is poised for flight. Still, she is quite lucid. In fact, except for a few oddities–reading a novel in two hours, feeling the “offness” of things in the air– she is a fairly normal housewife, bored, missing her son who has recently left for college, and annoyed with her workaholic husband.

Many stories told from the unreliable narrator’s point of view are written in first person. The Pocket Wife is told in third person, so Dana isn’t speaking directly to the reader. Nonetheless, we are often in her head and privy to her thoughts and conversations.

I think it’s important not to open a story or novel with the unreliable narrator already obviously a bit wonky because then the reader is less apt to really invest in him, or, for the sake of simplicity and because Dana is a woman, in her. If she’s too bizarre right off the bat, we’re far less likely to relate to her, and relating to a character, at least for me, is necessary if I’m going to climb inside her life for the next 300 or so pages. For me, this has very little to do with age or race or gender. E.T. was one of the most popular movies of all time. Its main protagonist, for whom the film was named, is a very short, mud-colored alien. But we can relate to him!

 

Read the full post on Writer’s Digest.

 

Want To Win Big Literary Prizes? Make Sure Your Story Is About Men

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This essay by Natalie Haynes originally appeared on The Guardian on 6/1/15.

Books with female subjects are less likely to win literary prizes. But why do men rarely feel confident enough to write about women?

Like anyone else who reads a lot of books, I’m not a bit surprised by the news that book prizes favour narratives with male characters at their centre. In fact, literary prizes tend to favour books by men about men, as novelist Nicola Griffith’s research reveals: the Man Booker, for example, has awarded nine of its past 15 awards to men writing primarily about men, the Pulitzer has awarded eight. The first five years of this century skewed the figures for the Man Booker: True History of the Kelly Gang, Life of Pi, Vernon God Little, The Line of Beauty and The Sea, all by men and primarily about boys or men (and a tiger).

Novels focusing on women or girls are very much less well-regarded, it seems. Griffith finds only two recent Man Bookers have been awarded to such narratives, and none of the Pulitzers. She’s right to point out the obvious: stories about women are stories about half of the world. Fail to reward those stories with recognition and publicity and you’re side-lining half of human experience. Quite aside from anything else, that’s robbing us of some good future books: publishers are often more likely to publish books that they think have a chance at a prize.

 

Read the full essay on The Guardian.

 

Cara Lopez Lee’s Thoughtful Rules for Compassionate Critiques

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This post by Cara Lopez Lee originally appeared as a guest post on Rebecca Lacko’s The Written Word site.

I have a small, trusted circle of critique partners. I know I’m lucky, they’re hard to come by. I met two at Writers’ Studio at UCLA, a couple of years ago, and I count them dear friends. Two others, I met when I began volunteering for Field’s End, a non-profit literary event group. In all cases, I found my partners by magic, or universal synchronicity, or dumb luck–I really don’t what alchemy transforms strangers to trusted allies. All I can I say is it is extremely difficult to both find and BE a good critique partner. That’s why I’m sharing ideas from author and HGTV-writer Cara Lopez Lee’s excellent post, Feedback with Compassionate Detachment.

Here are excerpts:

I’ve discovered that providing feedback with the goal of serving both writer and story can be fast and easy, if you know how…

Creative writing is always deeply personal, fiction or non, and I’ve learned that’s why it’s important for feedback to be both compassionate and detached. I’ve since developed a reputation among coaching clients, writing colleagues, and students for giving feedback that encourages and motivates. Here are a few tips that have helped me:

1. Take responsibility for your opinion by emphasizing “I” statements over “you” statements.
This helps writers take feedback as opinion, rather than personal blame or praise, encouraging them to decide whether their writing needs to change or just needs another audience. For example:

  • I’d like to know more about this character’s relationship with his father.
  • I’m confused here. Is it possible to clarify?
  • I find myself wondering how this character felt when she saw the body
    (Note: If you only adopt one technique, let this be it. You will win friends and influence writers! -RL)

 

Read the full post, which includes six additional specific critique tips, on The Written Word.

 

Seeing the Trees – Ten Ways Around Writer’s Block

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This post by JJ Marsh originally appeared on her site on 2/21/15. Warning: strong language.

A writer friend is helping me out by checking a Spanish translation of my work. I asked how I could repay the favour.

“Encouragement!” she said. “I’m blocked. So many false starts, I need help to get moving again.”

Blocks happen to all of us, sometimes caused by rejection or criticism, sometimes because we need to top up the creative reservoir. Advice often falls into the ‘Stand back’, ‘Take a break’, ‘Do something else’ category. Yes, that works.

But sometimes we get blocked because we’re looking at the woods and not seeing the trees. So get closer.

When I hit a wall, I stop trying to envisage the forest and get right down to twig level. I spend some time doing the equivalent of staring at a blade of grass. I’ve collected a series of exercises from all over and this is how I get past my blocks. After I’ve forced myself to complete a few of these, I return to my ms with an attitude I can only describe as Hell Yeah!

They aren’t for everyone – depends on what the block is – but it might give you a few ideas. Here are ten exercises which have worked for me:

Roll the dice. To generate some writing, start with www.storycubes.com/products. You could use cut out images from a magazine just as easily. Apply genres – whatever images you turn up, you have to fit them into crime/erotica/fairytale… WHY? Remind yourself of the childlike joy of just making shit up.

 

Read the full post, which includes 9 more specific tips for overcoming writer’s block, on JJ Marsh’s site.

 

How Mad Max: Fury Road Turns Your Writing Advice Into Roadkill

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This post by Chuck Wendig originally appeared on his terribleminds site on 5/26/15. Warning: strong language.

Said it before, will say it again: Mad Max: Fury Road is the dust-choked rocket-fueled orifice-clenching crank-mad feminist wasteland batfuck doomsday opera you didn’t know you needed. It’s like eating fireworks. It’s like being inside a rust tornado. It’s like having a defibrillator pad applied directly to your genitals but somehow, you love it?

It’s not a perfect movie.

But it’s amazing just the same.

And part of — for me! — what makes it amazing is how easily it flaunts its rule-breaking. Writing — particularly the very-patterned art of screenwriting — comes with all these preconceived sets of “rules” or “guidelines,” and like most creative rules and guidelines, they’re half-useful and half-dogdick. It’s great once in a while to be reminded why the rules work. But it can be even more illuminating to realize when something works in spite of those rules — in direct contravention to what you expect can and should happen.

And I wanna talk about that just a little. Real quick.

Hold still. *fires up the defib pads*

CLEAR.

bzzt

Begins With Action And Then Action Action Holy Fuck More Action

Beginning with action is hard. Because a lot of the time, you need context. You jump right into some actionstravaganza and you feel lost — unmoored, drifting, caught up in OMG THIS IS SUPPOSED TO BE EXCITING BUT MOSTLY IT FEELS LIKE ACTION FIGURES BEING FIRED OUT OF A CANNON AGAINST A WALL BECAUSE I DO NOT YET HAVE A REASON TO CARE. It’s all whizz-bang-boom, but ultimately? Hollow as a used grenade. Shallow as a puddle of sun-baked urine.

Fury Road is like, “Yeah, fuck you, mate,” and then instantly there’s a car chase? And then like, five minutes of setup and another car chase that goes until the middle of the movie? And then a sequel to that car chase that ends the movie. On paper, that shouldn’t work. On screen, it roars like an engine and drags you behind it like you’re chained to the goddamn bumper.

 

Read the full post on terribleminds.

 

Writing: Front and Back Matter for your Self-Published Book

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This post by Jessica Bell originally appeared on the ALLi blog on 5/27/15.

Book promotion expert Ben Cameron always says “writing the blurb is the hardest 100 words you’ll ever write”, and many authors are also stumped when it comes to writing the front and back matter – another task that usually falls just when you’re feeling least like writing another word, after completing your book’s final edit. Coming to the rescue today is ALLi partner member Jessica Bell, also an author and book designer, with this handy summary.

The front and back matter in a book are one of the key factors to presenting a professional and quality product. If done haphazardly, it’s a sure sign in most people’s eyes that the book content will not be up to par. So please do take these things as seriously as your story.

First I’ll explain what to include, and how to order it in a paperback. Then I will tell you how to reorder the content for your ebook.

FRONT MATTER

Front matter can be subjective as it varies from book to book, but I’m going to advise you based on what I would do. The order isn’t set in stone, but it’s what I think looks the best in a paperback.

 

Read the full post on the ALLi blog.