posted
We seem to have a lot of discussions about the "best" writing advice, and while I feel like there's a lot to be said for BIC and grammer, they're only going to take you so far. But I feel like there's a lot of very simple techniques that can make a big difference in the finished work-- like Eric's wonderful tip on the other discussion about punching up scenes by making the character do the opposite of what you were expecting. The kinds of things that you never notice in completed work because they're so seamless, and that writers never think to mention because they're so, well, small.
Like this: the added emphasis of the one-sentence paragraph.
Or another nice bit I got from Gene Wolfe's website, about adding more information to the parts of the story that are important, to make the reader slow down and pay more attention, and in some cases to heighten and lengthen the experience of the tension. Suddenly, all of the fight scenes I ever read through made sense: *that* was why they told me about the history of every kind of weapon and discussed the different forms of self-defense between blows.
Or putting finished sheets from a story on the wall to check the balance of narration and scene from the amount of grayspace as seen from ten paces. I feel like there's more of these out there, but punching "hidden writing tricks" in google isn't coming up with much. Anyone have some simple, evil, and devastatingly effective writing tricks?
quote:Like this: the added emphasis of the one-sentence paragraph.
Those one line paragraphs can really have a great punch and I think be very effectiv, so long as they aren't over used. Also, the end sentence of a chapter or segement is also a power position, where that sentence also has a particular importance, and with careful phrasing, can also have some of the same punch without the abruptness.
posted
Yeah, it's definitely a basic rule of writing that everyone should be aware of: short paragraphs speed up the reader, long paragraphs slow him down.
Posts: 233 | Registered: Mar 2004
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posted
Make notes as you read. I've slowly become more and more aware of these sort of things since I began writing, and though I haven't taken written notes (I really should, though), I make mental ones when I see something I like.
Often there is a sentence that just "makes" the paragraph, or page, or chapter. It varies completely from example to example, but sometimes it's just an odd tidbit thrown in at the appropriate time, sometimes an odd observation by the character, or a repeated sentence or recurring thought... and I feel really dumb now because I can't think of a single example...
[This message has been edited by TheoPhileo (edited April 08, 2004).]
posted
An other way to slow down the reader is to just describe the character. Events that have no relevance to the plot but build up the character are fan tastic. This really builds up the tension. If the character is really built up to amazingness(webster Volume 56748(i see it in the future(can I put parenthesis in a parenthesis in a parenthesis?))) then when he\her dies i.e. "Oh boy, John died..." the reader will be moved(kind of like that one movie I saw, but I forgot the name(I think it was about an animal)).
Oh, and wrinting down scattered thoughs(as illistrated above) tends to irritate the reader.
~James viva la living long!
[This message has been edited by FiveSides (edited April 11, 2004).]
posted
I think that would fall under the rubric of "letting the reader develop sympathy for the character" or something like that. Sure, you want to let the reader walk a mile in the character's shoes...just don't make it feel like literally walking a mile in ill fitting shoes.
Possibly clarifying what TheoPhileo said or maybe adding to our list...bring stories, scenes, or conversations to a point, a fulcrum where the content of a single line or even a single word defines everything that comes before and after that point.
I can think of a recent example from a story Eric was gracious enough to let me read...in that case it is the very last line of the story. Another such moment is the final line of the opening dialogue vignette of Ender's game, "All right. We're saving the world, after all. Take him."
Let your writing come to these sorts of decisive points where you irrevocably alter the fundamental relationship of the reader to the story. Because of that one line, Ender's Game wasn't a story about saving the world, it was a story about how one little boy was sacrificed to do it. The conversation isn't just exposition...something happens as a result.
But I would put both of these in the catagory of "things you should always do" rather than "evil tricks".
posted
Mmm... Yeah, I was thinking more of "new ways to get a fresh perspective on your work" or "stylistic tricks you use, but never realize you're using" than "things that are de rigeur in quality storytelling."
Or evil. Now If I were going for evil, I'd be posting something like the usual Submission Ceremony, the one that takes two cups of evil juice and a postal scale, finely emulsified, to outline the three cardinal points of clarity, brevity, and wit. "Oh slushreaders, we abjure you! By Gonzalez, of ROF! By Adams of F&SF! Come back without your SASE or on it!" Know I've got the full ritual somewhere...
posted
One of my favorite vignettes is truly evil > : To write a truly compelling story, just keep screwing your characters over, again and again. One misery piled on top of another will keep your readers enthralled.
Posts: 552 | Registered: Jan 2002
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posted
Good point, cvgarau. You can always have a little fun by simply asking yourself, "What could go wrong here?" Just have the guts to create whatever crazy mess you come up with, then try to work your characters' way out.
[This message has been edited by TheoPhileo (edited April 12, 2004).]
posted
Cvgurau, you have to be careful, though, when you pile trouble onto a character. Make sure it makes sense that things would go wrong the way you show them going in the story.
I've been trying to read and comment on a YA novel by a writer in my writing group, and the thing is driving me crazy because I can't believe that things would go wrong in the ways that the author is having them go wrong.
posted
My cousin and I have concocted a helpful method of developing and creating dialogue. I'm sure this has been used elsewhere, but I'll mention it anyway. First, you must find someone with a vivid imagination, good sense of humor, and working knowledge of writing. In my case, my cousin fits the bill nicely (I can proudly say I was the one who introduced him to SF & F writing and Ender's Game...which really got him hooked on writing in general). We’ve cooperated on several short stories and are working on a fantasy novel sporadically.
Anyway, we call each other on the phone (using the cheapest method possible, as our conversations are usually very long) and begin speaking in character after establishing a specific plot synopsis, setting, etc., to work on. Basically, we bounce back and forth in character, transcribing lines as we go. In this manner it is possible to build very realistic foundations for conversational development. You don't necessarily have to use the actual dialogue you come up with, but it serves as a nice basis or rough tone for future projects.
There is one major thing you need to consider before using this 'evil tactic'...make sure the person you are role-playing with is someone you can trust. Another good thing would be the establishment of an agreement regarding rights of usage, should you decide to publish some of the dialogue in the future. If it's a friend (or relative), you can generally utilize this method without trouble of any kind. Just make sure both of you don’t end up using the same dialogue in separate professional submissions. That could become decidedly...complicated. I've used this tactic randomly for a few years now, and believe me when I say it helps in many brainstorming situations. I suppose this can depend on personal preference, as well as the caliber of your role-playing partner. Just my two cents (approximately) on a tactic. If I think of anything else I’ll be sure to post again.
Inkwell ------------------ "The difference between a writer and someone who says they want to write is merely the width of a postage stamp." -Anonymous
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: To write a truly compelling story, just keep screwing your characters over, again and again. One misery piled on top of another will keep your readers enthralled.
