Category Archives: Readers

Make Your Readers Cry

How can you cause your readers to cry?  No, I don’t mean crying about having bought your book.  That’s easy.  I want to explore how you should write so as to cause readers to experience a powerful emotional reaction, one you actually intend to cause.  It need not be sadness, but any powerful reaction.

I can’t find the precise quote, but Isaac Asimov once said the aim of writing good fiction is to maximize the emotional response of the reader.  That makes it sound so mathematical; simply take the multi-dimensional equation for reader emotional response, select the right combination of character, setting, and plot variables that result in a local maximum in the solution surface.

Right.

Except there is no equation, and none of those story elements are numbers.  In fairness to Dr. Asimov, I’m pretty sure he knew that too.

But what if we looked at this another way?  Maybe there’s some trick or shortcut that always works, some valve in the human psyche you can turn with just the right words, and cause tears to flow.

800px-Adele_2009Consider the singer and composer Adele, and her song, “Someone Like You.”  That song has a reputation for causing listeners to cry.  What is it about that song?

Over two decades ago, Dr. John Sloboda, a British psychologist, studied the phenomenon of music making people cry and concluded most of the sob-inducing passages (including, it now turns out, “Someone Like You”) contained a common element.

That common element is known to music scholars as an appoggiatura.  It basically involves delaying the resolution of a melody through use of an interfering note that creates a brief emotional tension prior to completing the melodic phrase with its logical conclusion.  There’s more to the definition, but I wanted to convey that this is a single, simple musical technique.

Really?  That’s all there is to it?  Composers have a simple trick by which they can make us cry, and there’s nothing we can do about it?  Of course it’s not that simple.  Appoggiaturas may be a part of it, but there’s also something about how the rest of the melody flows, the singer’s voice, and the powerful meaning of the words.  I believe it’s the combination of all those things that brings magic to “Someone Like You.”

Getting back to writing…is there, then, some formula for writing fiction that makes readers cry?  For us authors, where is our appoggiatura?  Here are some things that might work, but this can’t be an exhaustive list:

  • A character the reader cares deeply about.  (How to achieve that is a blog subject in itself.)
  • A “bad” event happens to that character.  Something like death, serious injury, divorce, leaving for a long time, etc.
  • A skillful management of reader tension, through use of words that jar a bit, and delay the resolution of emotion.  This relates to the appoggiatura in music.
  • Another character to experience the emotion intended.  I think this can be optional, since it’s the reader’s emotion we’re after, but it helps for the reader to experience the sadness along with a character.

I don’t know of any scientific studies of books that make people cry, analogous to Dr. Sloboda’s studies of music, but I suspect the above elements might be common features in anyone’s list of tear-prompting literature.

Please leave a comment on all this, if you can pull yourself together.  With a box of tissues by my side, I’m—

                                                   Poseidon’s Scribe

October 13, 2013Permalink

The Techno-Thriller, a Tribute to Tom Clancy

Author Tom Clancy died earlier this week on October 2nd at the age of just 66.  During his writing career he reinvented and popularized the genre known as the techno-thriller.

Tom_Clancy_at_Burns_Library_croppedYou can read all about Clancy’s life elsewhere; my purpose today is to mention how he and his work influenced me.

When his first book, The Hunt for Red October was published in 1984, I was completing my first (and last) tour as an officer aboard a submarine and headed for two years of shore duty.

The novel didn’t really become popular at first, but the publisher, U.S. Naval Institute Press, was used to leaving books out and available for longer periods than traditional fiction presses were.  Good thing, too, because the book eventually caught on and became a best-seller.

The U.S. Navy benefited from that novel, I think, because it popularized the military at a time when it still suffered from the post-Vietnam stigma, and it rode the wave of the expansion of the military led by then-President Reagan.  It was a heady time for the submarine service.

I recall a cartoon at the time depicting a young woman addressing a naval officer seated at a bar table, drinking beer.  He wore sunglasses and had winged aviation insignia on his uniform.  She was asking, “Are you a submariner, like those guys in Red October?” and he responded, “Yeah, babe.”  The caption read, “The first recorded instance of an aviator impersonating a submariner.”

I enjoyed the book, and my familiarity with submarines probably heightened my appreciation for it.  I went on to read the first six of Clancy’s books, through The Sum of All Fears.  Although Hunt is the shortest of his works (I think), readers should not be intimidated by the length of his novels, for they are split up into short sections and chapters, and Clancy writes with considerable tension so that you won’t want to stop reading.

In the mid 1990’s, when Tom Clancy’s fame was assured, he actually spoke to the local writing group in my area, of which I was a member.  He waived his usual speaking fee, which was probably thousands of dollars.  Unfortunately for me, I was away on travel for my day job at that time and missed his talk.  I heard it went well and that he was inspiring.

As I mentioned, Clancy took the genre of techno-thriller to new heights.  Some complain about the lengthy paragraphs he devotes to describing how technology works.  But as an engineer, I never minded that.  I disagree with those who assert that technology itself becomes a character in Clancy’s novels.  He well knew that people operate technology, and he created memorable characters who had been well trained to work with the sophisticated equipment.

In fact, Clancy lavished much attention on those lowest in the military hierarchy.  His novels are filled with enlisted men from humble backgrounds who operate complex machinery with skill and great competence.  I think he greatly admired American enlisted men and women, and at one point I believe he said they were the real difference between the U.S. and Soviet militaries.  He said you’d expect officers from both countries to be top-notch, and they were, but it’s the American enlisted who far exceeded their Soviet counterparts.

Almost all of my stories deal with characters grappling with technology, too.  Moreover, many of my characters are low on the social pecking order, as are Clancy’s enlisted characters.  None of my works can be called techno-thrillers, but I think Clancy’s works did influence mine in some way.

Rest in peace, Mr. Clancy, and thanks for the pulse-pounding excitement!  You gave many enjoyable hours to millions, and to—

                                                       Poseidon’s Scribe

October 6, 2013Permalink

Cure: Writer’s Block

Earlier I blogged about writer’s block, but focused on symptoms and causes.  Today, let’s talk about getting over it.

Writers blockAs before, I’ll limit the discussion to minor writer’s block (minWB), the short-term state of being stuck while in the middle of a writing project.  I’ll blog about Major Writer’s Block (MajWB) another time.

My many fans—both of them, actually, including my Dad—will recall that I stated there are several types of minWB, which I divided as follows:

  • Story-related problems
  • Writing-related problems, but not about the story
  • Personal, but non-writing, problems

I also stated that if you pinpoint which problem you have, that suggests a cure. For story-related problems such as plot, character, setting, or others, here are a few things you can try:  (1) set the story aside awhile and let your subconscious (your muse) work on the problem, (2) try sketching a mind-map of the problem and creatively come up with multiple solutions, then select the best, or (3) ask your critique group or beta reader for help.

The craft-related problems all boil down to matters of attitude leading to negative mental associations, leading to stress.  Since one type of craft-related problem is the pressure of the audience seeming too close, I have to point out what some might consider a contradiction in the advice I, Poseidon’s Scribe, have given out.  In this blog entry I suggested, if you’re feeling the ‘presence’ of the reader too intensely, just forget about that audience and write freely for yourself.

However, just two weeks ago I urged you to keep the reader in mind, always.

Which advice is right—ignore the reader or be ever mindful of the reader?

(Aside:  witness the clever way I get out of this paradox.)

I was right both times.  In general, it is always wise to acknowledge that you’re writing to be read by others.  Therefore, you should write with precision, avoiding ambiguity, so as to be understood.  But if the fear of being criticized or disliked is paralyzing you into inaction, if the anticipation of bad reviews leaves you trembling before your keyboard, then forget about those readers for a while.  Ignore them during your early drafts and focus on getting your story done.

Then in the later drafts, I suggest you visualize yourself as a sort of super-editor, far more critical of your own work than any reader could be, and yet able to fix every problem you find.  In this way, you minimize your fear of the reader and substitute confidence in yourself.

That ‘visualization’ method may work for many of the minWB craft-related problems, by imagining a near-future version of yourself having already overcome the problem and working steadily on the story.  Visualize yourself being in the flow, and once again gripped by the same enthusiasm you had when you first conceived the story idea.  In this way you can change the mental linkages you’ve developed and re-associate writing with fun, success, and confidence rather than stress, fatigue, and inadequacy.

As to the last category of minWB, that of personal problems such as illness, depression, relationship difficulties, or financial woes, you need to confront those problems head-on first.  Until you have a plan for solving them, and start to execute that plan, it will be tough to concentrate on writing.

Do these suggested cures work for you?  Do you know of others I should have recommended?  Unblock yourself and leave a comment for—

                                                       Poseidon’s Scribe

September 21, 2013Permalink

When Your Protagonist Meets You

It saddens me to report that author Ann (A.C.) Crispin died a few days ago, on September 6.  Before I discuss my connection with her, I should give you a brief bio.

ac-crispinA.C. Crispin was a science fiction writer who established herself with “tie-in” novels delving into the characters of established universes of Star Trek, Star Wars, the V miniseries, and others.  She also created her own Starbridge series of novels.

Angered at how some agents, editors, and publishers cheat beginning writers, Crispin co-founded a group called Writer Beware in 1998 to both warn writers and to help law enforcement agencies prosecute scam artists.

I don’t know exactly when, perhaps ten or fifteen years ago, I enrolled in a creative writing course at my local community college.  A.C. Crispin taught it.  I recall her being a tough teacher, direct and honest with those whom she thought should consider non-writing pursuits.  She usually said encouraging things to me about the homework I submitted, though.

A.C. Cripsin’s lectures contained references to the great works of literature, and she’d look around the class for flashes of recognition.  When she didn’t see any, she admonished us to read the classics if we wanted to write well.

She asked us all a question on the first day of class that has stuck with me.  None of us answered it correctly, and she’s written about the question in her essay, “The Key to Making Your Characters Believable.”

If the protagonist of any of your stories saw you walking along the street, and recognized you as the writer, what would he or she do upon meeting you?  The answer, if you’ve done your job properly, is  the protagonist would punch you in the nose.  After all, your story drags that protagonist through bad and progressively worse situations.  You’ve challenged that protagonist with tests of character that force him or her to confront deep, inner beliefs or fears.  Perhaps in addition, you’ve pitted the world against your protagonist, multiplying the external problems that character must face.  No wonder that protagonist is furious with you!

While you cowered from the rain of your creation’s blows, your nose bleeding, you’d be blubbering that you had to do it, you were forced put the protagonist through Hell for the readers’ benefit, to make a compelling story.  That would probably sound pretty hollow to your character, I suspect.

Luckily, your fictional creations won’t be meeting you on the street or in any dark alleys.  You are free to force them to crawl through mud and gore, to confront giant monsters, to face their deepest terrors, to suffer the despair of lost love.  All with complete impunity.  Go ahead; they can’t strike back, and your readers expect you to write stories like that.  That was A.C. Crispin’s message to the class.

Goodbye, Ann Crispin, and thank you.  Not only did you touch readers with your novels, you protected budding authors through your Writer Beware group, and inspired many beginning scribblers, like—                                            

                                             Poseidon’s Scribe

September 15, 2013Permalink

Readers on My Mind

Just a few thoughts today about the relationship between writers like you and the readers you aim to delight.  Much of this will sound simplistic, but if you hang with me, perhaps we’ll both learn something.

writer-reader 2Years ago I took a classroom course in communication.  In essence, all communication is an attempt to convey one or more ideas from one mind to another, the trouble being that there are all sorts of filters in between so communication is never perfect.  In the class they asked, “Given that there’s a person transmitting and a person receiving, who is responsible for the quality of the communication?”

It’s not necessarily the transmitter, nor the receiver.  The Zen-like answer they were looking for is you.  Whether you are the transmitter or receiver, you need to strive toward a clear conveyance of the idea from one mind to another.

When we consider writing, it’s different from other forms of communication.  Some forms, like talking, dramatic plays, stand-up comedy, or musical concerts have an advantage in that the receiver is present in the room with the transmitter.  The transmitter gets instant visual feedback about the quality of the communication, allowing her to alter her approach in real-time to improve it.

Obviously that’s not the case with writing.  The writer and reader are almost never present in the same room.  In fact, thanks to the permanence of the medium, the writer need not even be alive when the communication takes place.  The writer gets no immediate feedback from the reader, and certainly cannot adjust the communication on the fly.

So the measure of your success as a fiction writer is how well you transfer emotionally appealing ideas from your mind to the reader’s with minimal loss of clarity.  Using written words alone, you must convey the following things I’ve discussed in earlier blog posts:

It should be apparent, then, that you must keep the reader ever in your mind as you write.  Form a mental picture of someone reading your story.  That clever turn of phrase you’re so proud of—would a reader stumble over it?  That little plot detour you stuck in to show off your knowledge of some arcane fact—will it bore the reader?  You must be willing to sacrifice them all for the reader.

In the end, only readers can determine the quality of your story.  Editors can’t; reviewers can’t.  Certainly you can’t.  Readers are your customers, and the customer is always right.

I mentioned that fiction writers don’t get immediate reader feedback, and that’s true.  However, you will get valuable delayed feedback that is useful for altering your approach in later stories.  This feedback comes in several possible ways:

  • Virtual feedback from the reader you’re imagining as you write, the one looking over your shoulder
  • Feedback from members of your critique group
  • Feedback from an editor
  • Feedback from reviewers
  • Sales figures from your earlier stories

All of these can be useful for improving your writing, making that mind-to-mind communication as clear and enjoyable as possible.  Speaking of feedback, I’d welcome some concerning this blog post, so feel free to comment.  With my mind full of imagined readers, I’m—

                                                  Poseidon’s Scribe

September 8, 2013Permalink

Ay, Now the Plot Thickens

When George Villiers, the 2nd Duke of Buckingham wrote those words for his play “The Rehearsal” in 1663, I believe he had today’s blog post in mind.  For, ay, I intend to discuss how to plot a story.

First, what is a plot?  It is simply a series of connected fictional events.  Here are two rules about these events:

1.  In a non-humorous story, the connections between events should be logical, with a minimum of lucky coincidences; the events should be related by cause and effect.

2.  To make your story appealing to readers, there should be a certain structure to these events.  That is, experience has shown this particular plot structure (sometimes called a “dramatic arc”) to have a maximum emotional impact.

But how are rules 1 and 2 related?  What does it mean to have a cause-and-effect chain of events that rises and falls?  Think of it this way.  Your story must have a protagonist with a problem, a conflict of some kind.  Often there is both an external and internal conflict.

I’ve said before that stories are about the human condition.  More specifically, stories show human ways of dealing with problems.  It may seem strange to generalize that way, but without a problem or conflict, you have no story.  Even if there are no humans in your tale, your non-human characters are really just standing in for people.

Plotting diagramsBack to plotting.  Think of the series of events (Rule 1) as events showing your protagonist encountering an initial obstacle, overcoming it, then encountering a worse one, overcoming that one, etc.  Each obstacle thrown at her causes her to struggle against it.  Her struggle causes the antagonist (which may be a person or nature or anything) to oppose her even more.  That’s what Villiers described as a plot thickening.

Think of the dramatic arc (Rule 2) as a portrayal of the increasing difficulties for your protagonist as she contends with her problems. Tensions should increase in this section, culminating in a climactic turning point.  There she must confront both her external and internal problems.  The remaining events convey the resolution of the conflict and represent a decrease in tension.

Although I’ve geared this discussion to short stories, all fiction is similar.  Screenwriter H. R. D’Costa has written a wonderful blog post providing the secrets of movie plot structures.

Oh, one more thing about problems and resolutions—if you have a problem with what I’ve said in this blog post, leave a comment and I’ll try to resolve it.  I also accept praise by the heapful.  I’ll close by saying, Ay, now the plot’s been thickened by—

                                                          Poseidon’s Scribe

September 1, 2013Permalink

Don’t Touch that Dialect!

As you write your fiction, should you have your characters speaking in dialect? By this I mean the purposeful misspelling of words in a phonetic manner to indicate how your character is speaking them.

The study of dialect is fascinating and, as a fiction writer, you should be familiar with the dialect used by your characters. But the question is whether to indicate some or all of the character’s word pronunciations to the reader phonetically.

One good reason for doing so is to show authenticity. Writing in dialect gives readers a great feel for the character, since you’re depicting the speech as it would really be. Also, the use of dialect allows you to distinguish characters from each other. If each character has a distinctive way of pronouncing words, that’s a help to the reader in telling them apart.

There are significant dangers in using dialect in your writing, though. First, it can slow down the reading process. Readers get annoyed having to stumble over your strangely-spelled words. Worse, they can get confused if you do a clumsy job of it and they have to stop and puzzle out what a character is supposed to be saying.

Worse still, you can offend a reader. These days, offended readers might not merely chuck your book, they can post scathing reviews which can really cut down on sales.

There are degrees of offense, of course. And attitudes change with time.  Just after Mark Twain wrote Adventures of Huckleberry Finn, readers were more put off by its crude and mildly obscene language. Now the main criticisms involve its depiction of the black slave character, Jim. In fact, it’s hard to even read the book these days because it comes off as racist by today’s standards. It helps, just a little, to realize that Jim is, in fact, a noble character. And ennobling, in the sense that he forces Huck to struggle with the values of the society he lives in.

Jar Jar BinksHowever, a worse example of offending an audience with dialect is Jar Jar Binks in some of the Star Wars movies.  Since Jar Jar is an alien, (a Gungan), writer and director George Lucas could have gotten creative and invented a new and distinctive dialect. Instead he chose to give this character a dialect nearly identical to that of Jamaican English. To aggravate the offense, he made Jar Jar a comic relief character, bumbling and rather stupid.

Getting back to the question of whether to use dialect in your writing, I suggest you use it sparingly, while being sensitive to the problems of confusing or offending your readership. There are other ways to convey the distinctiveness of a character other than dialect. These include word choice, grammar, idioms, slang, gestures and other actions, and clothing choice. I think writer Jennifer Jensen has some great advice on dialect here.

The story in which I used dialect to the greatest degree is “The Six Hundred Dollar Man.”  Only you readers can decide if the cowboy dialect of 1870 Wyoming was rendered well in that story by—

                                                           Poseidon’s Scribe

July 21, 2013Permalink

Tightening the Screws

Today I’m discussing why and how writers increase conflict in their stories.  Long-term fans of this site with keen memories will recall that I promised to get to this topic in a previous blog entry.  Far be it from me to let you down.

Conflict is a necessary part of all stories and it’s a good idea to ramp up the level of conflict as your story proceeds, both to hold your reader’s interest by building tension, and to subject your protagonist to a progressively more difficult test of character, forcing him or her to confront inner fears or character flaws.

220px-Jurassic_Park_posterLet’s look at a couple of examples.  In the 1993 movie “Jurassic Park,” directed by Steven Spielberg and based on a novel of the same name by Michael Crichton, we see a gradual step-up in conflict.  The central protagonist, Dr. Alan Grant, is persuaded to leave a paleontological dig to conduct a review of a theme park.  Once there he is awed that the park engineers have re-created living dinosaurs.  He is put in close contact with children, which he dislikes.  When part of the park’s security system is deactivated, a Tyrannosaurus attacks the group.  Grant and the children must spend the night in the park, with predatory dinosaurs on the loose.  They encounter cunning Velociraptors, and finally both Velociraptors and the Tyrannosaurus.

Fiddler_on_the_roof_posterConflict need not be physical, or even dangerous.  In the 1964 musical “Fiddler on the Roof,” with music by Jerry Bock and lyrics by Sheldon Harnick, the conflict is of a different nature but also increases.  The village milkman, Tevye, must first contend with the fact that his eldest daughter has chosen her own husband against tradition and his wishes.  Then his second daughter likewise makes her own marital match, but with a political and cultural radical.  Later his third daughter seeks to marry outside the Jewish faith.  Finally, on orders from the Tsar, Russian authorities expel the Jewish villagers from their town.

Notice how, in each case, the author chooses plot events that begin with small conflicts and then escalates, figuratively tightening thumbscrew devicethe screws as with the medieval torture device, progressively challenging the characters with more taxing situations.  Just as the protagonist resolves or comes to terms with one disaster, a worse one occurs.  Moreover, the nature of the conflicts is such that they strike at a character flaw.  In Dr. Grant’s case, it’s his dislike of children.  In Tevye’s case, it’s his over-reliance on tradition.  The protagonists are forced to grapple with their own weakness and try to overcome it.

It’s sad, in a way, that writers must put their characters through the torture of increasing conflict intensity, just for the sake of reader enjoyment.  But as long as the characters stay imaginary, it’s all legal, so ease your mind about that.  You’re welcome to comment on this topic of increasing the level of conflict.  I’ll return now to my Work in Progress (WIP).  Please don’t mind any screams you might hear as the screws get tightened by—

                                                      Poseidon’s Scribe

May 5, 2013Permalink

Giving and Receiving…Critiques

‘Tis the season for giving and receiving, so I thought I’d discuss critiques of fiction manuscripts.  Last time I did so, I said I’d let you know how to give and receive critiques.  My critique group meeting 2experience is based solely on twenty years of being in small, amateur, face-to-face critique groups; not writing workshops, classes, or online critique groups; so the following advice is tuned to that sort of critique.

First of all, to give the critique, keep the following points in mind:

  • Read the submitted manuscript straight through once, and just note where you were “thrown out of the story” for some reason.  Jot down why and come back to those points later.
  • Re-read the manuscript again. You could mark some of the grammar or spelling problems, but don’t concentrate on those.  The author wants you to find the bigger stuff.
  • Where there are stand-out positives (“Eyeball kicks” in TCL parlance) note those and praise the author.  The word critique should not have solely negative connotations.  A positive comment from you could keep the author from later deleting a really good description, metaphor, or turn of phrase.
  • Be clear and specific in the comments you write; avoid ambiguity.
  • Look for the following story elements and comment if they’re not present or they’re weak:

1.  Strong opening or hook

2.  Compelling, multi-dimensional, non-stereotypical protagonist with human flaws

3.  A problem or conflict for the protagonist to resolve

4.  Worthy secondary characters, different from the protagonist, who do not steal the show

5.  Vivid settings, not overly described

6.  Consistent and appropriate point of view

7.  Appropriate dialogue that moves the plot and breaks up narration

8.  Narration that shows and doesn’t tell.

9.  A plot that builds in a logical way, events stemming from actions that stem from understandable motivations

10.  A story structure complete with Aristotle’s Prostasis, Epitasis, and Catastrophe (beginning, middle, and end)

11.  Appeals to all five senses

12.  Active sentence structure, using passive only when appropriate

13.  Appropriate symbolism, metaphors, similes

14.  A building of tension as the protagonist’s situation worsens, followed by brief relaxing of tension before building again

15.  An appropriate resolution of the conflict, without deus ex machina, resulting from the striving of the protagonist, and indicative of a change in the protagonist

  • If your group shares comments verbally, do so in a helpful, humble way.

You think all that sounds pretty difficult?  Ha!  It’s much harder to receive a critique.  When doing so, here are the considerations:

  • Submit your work early enough to allow sufficient time for thorough critiques.  Be considerate of your group members’ time.
  • While being critiqued, sit there and take it.  No comments.  No defensiveness.  Just listen to the honest comments of a person who not only represents many potential readers, but who wants you to get published.

So, when it comes to critiques, is it better to give than to receive?  In contrast to most gifts, it’s harder to receive them, but it’s still a toss-up which is better overall.  But perhaps both are just a bit easier for you to deal with now, thanks to this post by—

                                                      Poseidon’s Scribe

December 30, 2012Permalink

Sorry, New Rule. You Can’t Do That!

In the original Star Trek TV series, there’s an episode where Captain Kirk invents a card game called Fizzbin in which he makes up the rules as he goes along.  The comic strip Calvin and Hobbes featured a game called Calvinball which may never be played by the same rules twice.

If you’re a writer of fiction, you might consider yourself to be playing such a game, too.  According to W. Somerset Maugham, “There are three rules for writing the novel. Unfortunately, no one knows what they are.”  With apologies to the famous novelist, I’d say the game has too many rules to memorize and they change with time, according to the tastes of readers.  Only by playing the game well can you can make money selling books.

You might try to emulate great writers of the past and imitate their writing styles, in an effort to achieve success.  Bad idea.  The rules were different in their time.  Let’s cover some of those former rules.

1.  Take all the time you need to create a vivid description, to ‘paint’  with words.  Writers of the 19th Century and earlier used extensive portrayals to convey the appearance of a scene or character, multi-paragraph descriptions abounding in adjectives.  That worked well in an era without movies or TV, but readers won’t wade through such long-winded descriptions today.

2.  Adverbs exist for a reason; use them.  Authors once used adverbs with abandon. Adverbs modify adjectives or verbs and often end in ‘ly’ like ‘crazily.’  These days it’s considered lazy to use too many adverbs, a sign you didn’t take time to select a powerful enough verb.

3.  Demonstrate your skill as an author in your narrative paragraphs; dialogue only interferes with that.  At one time, fiction was mostly narration, with occasional dialogue.  We’re now in an age of character-driven stories, and readers want characters to talk more.  No long, boring narrative paragraphs, and less narration overall.

4.  Incorporate a rather dull character who needs everything explained to him (even things he already knows); that’s a clever way to explain things to the reader. There was an era when authors could use this technique even if it strained the conversation a bit.  These days, that’s no longer tolerated and there’s even a term for it–As You Know, Bob or AYKB.  AYKB’s are tempting, an easy trap to fall into even if you make every effort to avoid them.

5.  Bring the narrator in as an entity the reader can trust, as one who helps foreshadow future events.  In a bygone past, writers could have the narrator speak directly to the reader.  And now, Gentle Reader, let us discover what Annabel must be thinking about this latest development.  That voice could be used to foreshadow future events in an ominous tone.  Little did Frank know, but his secure life would soon be altered forever.  Understand, it’s still okay to use foreshadowing, but do it with subtlety, and not with the narrator speaking to the reader.  Today that’s referred to as narrative intrusion.

6.  Find clever new ways to express your ideas.  As centuries of writers did this, many of the word combinations they used were so good the first time, they got used again, and re-used many times over.  And became clichés.  Now you don’t get to use those clichés, unless you add some twist on them.  Go think of your own clever word combo that might become a future cliché.  This rule didn’t change, but sorry, you can’t use the same tired clichés.

7.  Ease into your story by introducing the reader to the setting, time period, and major characters before any action occurs.  Readers in those times had nothing to compete with books for entertainment, and had the time to curl up near the fire and read a cozy story by its light.  Times are different.  You must grab your reader by the throat with a first sentence or paragraph that demands attention.  It’s called a hook, and stories without a good one stay un-bought.

So, are you up for a game like Fizzbin or Calvinball?  May the best writer win!  Unfortunately, the game’s rules aren’t known by you or—

                                                                    Poseidon’s Scribe

 

November 25, 2012Permalink