Writing Craft: Permission to be Bad By Randy Ingermanson

Permission to be Bad

 

By Randy Ingermanson

 

Writing a first draft is hard. You have to create a group of interesting characters in an interesting storyworld, force them into conflict in scene after scene, and never let the story go flat.

For some writers, writing a first draft is also fun. They write with abandon, pushing out the words, getting the story down on paper. But the problem is that when these writers finish the novel and actually look at what they wrote, they usually find that the first draft is bad.

For other writers, writing a first draft is torture. They labor over every single sentence. They sweat the small stuff and the smaller stuff. And then when the story’s finally written, and they actually look at what they wrote, they usually find that the first draft is bad.

There’s a pattern here.

The First Draft is Usually Bad

I suppose a few lucky writers don’t write bad first drafts. But most writers do.

And that’s OK.

For most writers, a bad first draft is the necessary step to writing a fairly good second draft. Which is the necessary step to writing a pretty good third draft.

And eventually, after enough drafts, the story turns into a very good final draft.

What If Your First Draft is Good?

That’s great, if your first draft is good! Super, actually. Amazing. You are not like most writers.

If you are lucky enough to write awesome first drafts, be happy. But don’t tell anyone, because most writers don’t, and some of them will get downright snippy if you tell them your first drafts are amazing.

Some of them will sneer at you and say that if you really can’t improve on your first draft, you can’t be much of a writer.

Pay no attention to those naysayers. But do get your manuscript edited, because even good manuscripts have issues.

But the fact remains that most writers write awful first drafts most of the time. I certainly do.

Is It Bad to Be Bad On the First Draft?

No, it’s not bad. It’s uncomfortable. It’s discouraging. It can be downright debilitating.

But it’s normal.

If you just remember it’s normal, that may keep you from beating yourself up.

You have permission to write a bad first draft. You have permission to be awful. You have permission to write the worst drivel ever.

Because you can fix it in the next draft. Or the one after that. Or the one after that.

But you’ll never fix it unless you first write it.

So get it written, as the old slogan goes, and then get it right.

And you have permission to take as many drafts as you need to get it right.

Homework—A few questions to think about

• Are you working on the first draft of a novel right now?
• Is it coming along more slowly than you’d like?
• Are you worrying too much about making it perfect?
• Would it hurt to leave some work for the second draft?
• Would it speed things up to give yourself permission to be bad? (Just for this draft?)

It may be that none of these questions apply to you. If not, then keep doing what you’re doing. But I’m betting these questions apply to a lot of writers. 

 

About The Author

Randy Ingermanson is a theoretical physicist and the award-winning author of six novels. He has taught at numerous writing conferences over the years and publishes the free monthly Advanced Fiction Writing E-zine.

 

 Randy Ingermanson Books at Amazon

 

More Advanced Fiction Writing

 

Novel Structure: Writing a Cohesive and Engaging Story by Olivia Salter

 

Novel Structure: Writing a Cohesive and Engaging Story

 

by Olivia Salter

 

Writing a novel using structure is a great way to ensure a cohesive and engaging story. By incorporating acts, beats, and scenes, you can organize your narrative and maintain reader interest. Here are some steps to help you navigate this process effectively:

1. Familiarize yourself with the three-act structure: The three-act structure is a popular framework used in storytelling. It consists of three major sections: the setup (Act 1), confrontation (Act 2), and resolution (Act 3). Understanding this structure will provide you with a foundation for organizing your novel.

2. Outline your novel: Before diving into writing, create a detailed outline that maps out the major events and chapters of your novel. This will serve as a roadmap for your story and help you identify the acts, beats, and scenes you'll incorporate.

3. Identify the acts: Divide your book into the three acts outlined above. Act 1 focuses on establishing the setting, characters, and conflict, pulling readers into the story. Act 2 intensifies the conflict, introduces new obstacles, and raises the stakes. Act 3 presents the climax and resolution of the story.

4. Determine beats: Beats are significant moments or turning points within each act that drive the narrative forward. They provide emotional or plot shifts that keep readers engaged. Identify these beats within each act to maintain momentum and tension.

5. Create scenes: Scenes are the building blocks of your novel and occur within acts and beats. Each scene serves a specific purpose, such as advancing the plot, revealing character development, or providing important information. Ensure that each scene has a clear objective and contributes to the overall story.

6. Establish a goal for each scene: To maintain structure and purpose, assign specific goals to each scene. The protagonist should have a clear objective or challenge to overcome in each scene, which can help progress the story and drive the overall plot forward.

7. Connect scenes and beats: Ensure that each scene flows logically from one to the next, following the beats and acts you've established. Smooth transitions and well-paced scenes help maintain the reader's interest.

8. Revise and refine: Once you have completed your first draft, read through your novel and analyze its structure. Ensure that the acts, beats, and scenes work harmoniously, supporting the overall narrative arc. Make any necessary revisions to strengthen the structure and pacing of your novel.

Remember that these guidelines are not rigid rules but rather tools to aid you in crafting a well-structured novel. Feel free to adapt them to fit your storytelling style and the unique needs of your story. Ultimately, the goal is to create a compelling narrative that captivates readers from beginning to end.

Also see:

👉Free Writing Resources 

👉Fiction Writing books at Amazon

Novel Writing: 16 Steps to Success By Evan Marshall, Foreword by Olivia Salter

Novel Writing: 16 Steps to Success

 

By Evan Marshall

 

FOREWORD BY OLIVIA SALTER

Writing a novel is a magnificent journey that takes readers to extraordinary worlds, breathes life into memorable characters, and evokes a multitude of emotions. It is an art form that captivates us, allowing us to escape reality and immerse ourselves in a realm created solely by the writer's imagination. Yet, for aspiring novelists, embarking on this creative endeavor can often feel both exhilarating and overwhelming.

In "Novel Writing: 16 Steps to Success," Marshall Evan offers a comprehensive guide that will equip writers with the tools and techniques necessary to navigate the complex terrain of novel writing. With Marshall's extensive experience as a successful author and his innate ability to craft stories that resonate with readers, this book is an invaluable resource for anyone who dreams of bringing their ideas to life on the page.

The sixteen steps outlined in this book are not simply a formulaic approach to writing a novel. Instead, they serve as a roadmap to assist writers in developing a deep understanding of the craft while encouraging their authentic voice to shine through. Marshall emphasizes the importance of meticulous planning, character development, and plot construction, providing aspiring writers with a solid foundation upon which to build their narratives.

One of the standout qualities of Marshall's approach is his dedication to nurturing the creative process. He understands that writing a novel is not a linear journey and that it requires flexibility and adaptation. He offers practical advice on overcoming common obstacles, such as writer's block and self-doubt, while encouraging writers to embrace experimentation and take risks.

Throughout this book, Marshall's enthusiasm for storytelling is evident. His passion for his craft is infectious, and he reminds writers of the transformative power of words. He prompts readers to dig deep and tap into their own emotions to create stories that will resonate with others long after the pages have been turned.

"Novel Writing: 16 Steps to Success" is not a magical solution that guarantees instant success. Rather, it is a guide that instills discipline, perseverance, and self-belief in those who embark on the writing journey. It is a companion that offers encouragement during moments of uncertainty and celebrates each milestone achieved.

So, whether you are at the beginning of your writing career or have already penned multiple novels, this book will undoubtedly inspire you to refine your skills and continue honing your craft. Success as a novelist is not solely determined by commercial accolades or critical acclaim; it is found in the joy of bringing stories to life and connecting with readers on a profound level.

As you flip through the pages of this book, remember that writing a novel is an adventure with endless possibilities. Let "Novel Writing: 16 Steps to Success" be your guide, your companion, and your source of inspiration as you embark on this incredible journey of creative self-expression.

Happy writing!

 

Olivia Salter

12/16/2023

If you can't login to borrow, click here. Or, buy at Amazon.

  

👉Novel Writing: 16 Steps to Success at Amazon

Mastering the Craft: A Guide to Becoming a Skillful Fiction Writer by Olivia Salter

 

Mastering the Craft: A Guide to Becoming a Skillful Fiction Writer

 

by Olivia Salter

The art of fiction writing is a captivating endeavor that allows individuals to explore their creativity and imagination. Whether you aspire to become a published novelist or simply want to enhance your storytelling abilities, there are several key elements and practices that can help you become a proficient fiction writer. In this article, we will explore effective strategies to improve your skills and enhance your storytelling prowess.

1. Read Widely and Analyze:

To become a skilled fiction writer, immerse yourself in a wide range of literary works. Read books across various genres, from classics to contemporary novels. Observe the techniques employed by other writers, such as characterization, plot development, pacing, and dialogue. Analyze what makes a particular story captivating and engaging. This exposure to different styles and narratives will enhance your understanding of storytelling and inspire your own writing.

 Need to read more? Find free Kindle eBooks from a massive selection of genres.

2. Develop Strong Characters:

Compelling characters are the lifeblood of any story. Take the time to create fully fleshed-out characters with depth and complexity. Understand their motivations, flaws, and aspirations. This will make them relatable and memorable for your readers. Use techniques like character profiles, backstory development, and character arcs to bring your characters to life. The more you know your characters, the easier it will be to write authentic and engaging narratives.

3. Craft an Engaging Plot:

A captivating plot keeps readers hooked from beginning to end. Take the time to plan and outline your story, ensuring a solid structure and clear narrative direction. Consider the essential elements of a plot, such as exposition, rising action, climax, falling action, and resolution. Build suspense, create tension, and develop a satisfying story arc. Experiment with different narrative structures and techniques to keep your readers engaged and eager to turn the page.

4. Show, Don't Tell:

One of the fundamental principles of fiction writing is "show, don't tell." Instead of simply stating facts or emotions, strive to create vivid and sensory-driven descriptions that allow your readers to experience the story for themselves. Use evocative language, dialogues, and imagery to immerse your readers in the world you are creating. By employing this technique, you will captivate their imagination and draw them deeper into your narrative.

5. Practice Writing Regularly:

Becoming a proficient fiction writer requires consistent practice. Set aside a dedicated time each day or week to write. Treat writing as a skill that needs constant honing. Experiment with different writing exercises and prompts to challenge yourself. Consider joining writing groups or workshops where you can receive constructive feedback and support from fellow writers. The more you write, the better you will become at crafting compelling stories.

6. Edit and Revise:

Writing a first draft is just the beginning of the journey. After completing your initial manuscript, take the time to edit and revise it. Look for inconsistencies, plot holes, and weak points in your narrative. Polish your prose, refine your dialogue, and ensure a cohesive story structure. Consider seeking feedback from trusted beta readers or professional editors, who can provide valuable insights and suggestions for improvement.

In conclusion, becoming skilled at fiction writing is a rewarding and ongoing process. By reading widely, developing strong characters, crafting engaging plots, showing rather than telling, practicing regularly, and editing diligently, you will enhance your storytelling abilities and captivate readers with your narratives. Embrace the journey, persist in your writing endeavors, and watch as your skills as a fiction writer blossom. Happy writing!

Also see:

👉Free Writing Resources
👉Fiction Writing books at Amazon

What Exactly is Fiction Writing? by Olivia Salter

 

What Exactly is Fiction Writing? 

 

by Olivia Salter

 

 Fiction writing is a captivating and imaginative form of artistic expression that allows writers to create worlds, characters, and narratives that transcend reality. It is the art of crafting non-factual prose texts that transport readers to new realms, provoke emotions, and prompt reflection.

One of the primary purposes of fiction writing is to entertain. Fictional stories have the power to captivate readers and take them on thrilling adventures, allowing them to escape from the humdrum of everyday life. Whether it's a gripping mystery, a fantastical journey through uncharted lands, or a heartwarming tale of love and friendship, fiction has the ability to engage readers emotionally and intellectually.

Furthermore, fiction writing allows authors to convey their unique perspectives and explore various themes and ideas. Through their stories, writers can delve into complex issues, challenge societal norms, and offer profound insights into the human condition. Fiction becomes a compelling vehicle for commentary and critique, giving readers an opportunity to contemplate different perspectives and broaden their understanding of the world.

There are various forms and styles of fictional writing, each with its own characteristics, structures, and techniques. A short story, for example, typically focuses on a single event or moment in time, often leaving readers with a powerful impression or revelation. Novels, on the other hand, allow for more extensive development of characters and plotlines, giving authors the chance to explore intricate relationships and take readers on extensive journeys.

Novellas strike a balance between short stories and novels, providing a compact yet comprehensive narrative experience. Screenplays, designed for film or television, require a unique approach, emphasizing visual storytelling and dialogue. Drama, whether in the form of stage plays or scripts for performances, relies on powerful dialogue and dramatic tension to engage audiences.

Regardless of the specific format, fiction writing requires a host of skills, such as creative thinking, imagination, storytelling prowess, and attention to detail. Authors must master the art of character development, creating relatable and authentic individuals who will resonate with readers. Moreover, they must craft compelling plots that have the right balance of conflict, tension, resolution, and emotional impact.

In addition to storytelling elements, fiction writing often incorporates literary techniques such as symbolism, metaphor, foreshadowing, and irony. These tools help authors convey deeper meanings and enhance the overall richness of their narratives. By weaving these literary devices seamlessly into their prose, writers create a multi-layered reading experience that invites interpretation and analysis.

In today's digital age, fiction writing has also expanded beyond traditional printed mediums. With the rise of e-books and online publishing platforms, aspiring authors have more opportunities than ever to share their work with a global audience. Additionally, interactive storytelling, such as Choose Your Own Adventure books or narrative-driven video games, presents new avenues for engaging readers or players in immersive fictional worlds.

In conclusion, fiction writing is a powerful medium that allows authors to entertain, inform, and inspire readers through the composition of non-factual prose texts. By crafting imaginative stories and characters, authors create narratives that transport readers to new realities and provoke thought. With its diverse forms and styles, fiction writing has the capacity to entertain, educate, and connect people through the universal language of storytelling. Whether it's a short story, novel, novella, screenplay, or drama, fiction writing continues to captivate hearts and minds with its limitless possibilities.

 

Also see:

• How to Write a Fiction Book: 10 Steps You Can't Miss!
• 50 Fiction Writing Prompts and Ideas to Inspire You to Write
   

Unleashing the Sensual Art: A Guide to Writing Softcore Erotica by Olivia Salter

 

Unleashing the Sensual Art: A Guide to Writing Softcore Erotica

 

by Olivia Salter

Erotica, a literary genre that explores human sexual desire, is an art form that has captivated readers throughout history. Writing erotica requires a delicate balance of sensuality, emotion, and narrative prowess. In this comprehensive guide, we will delve into the world of writing erotica, exploring tips, techniques, and considerations to help you craft engaging and evocative stories. Whether you aspire to titillate your readers or venture into this genre for personal satisfaction, this article aims to equip you with the necessary tools to effectively convey desire, passion, and intimacy.

1. A Deep Dive into Character Development:

Creating fleshed-out and relatable characters is crucial in erotica. Readers want to connect on a personal and emotional level with the protagonists. Develop multifaceted characters, exploring their desires, fears, and vulnerabilities. Delve into their backgrounds, giving them unique quirks and personalities that will resonate with your audience.

2. Establishing the atmosphere:

Sensual environments immerse readers in the erotic experience. Set the scene by painting vivid details that appeal to the senses. Explore the mood, lighting temperature, and surroundings, as well as the emotions and anticipation of the characters. This will help create an alluring atmosphere that pulls readers into the story.

3. Crafting engaging plotlines:

Erotica is not solely about graphic scenes; it should have compelling plots that drive the narrative forward. Develop conflicts, obstacles, and tension to keep readers engaged. Use the power of anticipation to heighten desire and build momentum throughout the story. Remember, a well-structured plot will anchor the erotic elements and provide a satisfying framework for readers.

4. Balancing Sensuality and Emotion:

Erotic writing is a delicate interplay of sensuality and emotional connection. Infuse your text with powerful emotions that resonate with readers. Respectfully explore the depths of passion, desire, and love. Aim to evoke a rollercoaster of emotions, from excitement and vulnerability to tenderness and ecstasy.

5. Utilizing Evocative Language:

Word choice is integral to writing erotica. Select words that enhance sensuality and arouse desire while avoiding clichéd or overly explicit terms. Metaphors, similes, and sensual descriptions can elevate the writing by invoking imagery that heightens the sensory experience. Experiment with different styles and techniques to find your unique voice.

6. Consent and Boundaries:

Responsible erotica takes into account the importance of consent and boundaries. Ensure that all sexual encounters portrayed in your writing are consensual and respectful. Developing authentic communication between characters will not only add depth to the story but also reinforce positive attitudes towards healthy sexual relationships.

7. Revision and Editing:

After completing the first draft, revising and editing are essential. Ensure consistency, clarity, and coherence in your writing. Proofread for grammar, punctuation, and spelling errors. Revisit scenes to check for flow, rhythm, and pacing. Solicit feedback from trusted friends or fellow writers to gain fresh perspectives and refine your work further.

In conclusion, writing erotica is an art that requires skill, sensitivity, and a deep understanding of human desires. By immersing readers in sensuality, creating emotionally engaging characters, and crafting compelling plots, you can create captivating stories that explore the richness of human sexuality. With practice, revision, and an open mind, you can master the art of writing erotica and leave readers captivated, enticed, and eager for more.

The Beauty of Flaws: Why Characters Should Have Imperfections by Olivia Salter

The Beauty of Flaws: Why Characters Should Have Imperfections

by Olivia Salter

One of the key elements that make fictional characters relatable and intriguing is their flaws. Just as no person is perfect, well-crafted characters should also possess imperfections and weaknesses. Flaws serve as a vital aspect of character development, adding depth, realism, and complexity to their stories. In this article, we will explore the reasons why characters should have flaws and the impact they have on storytelling.

1. Relatability

Characters without flaws can often become uninteresting and unrealistic, making it difficult for audiences to connect with them. Flaws humanize characters, allowing us to empathize with their struggles and challenges. By portraying their weaknesses, characters become more relatable and mirror real-life experiences, making the readers or viewers feel a greater sense of connection with them.

2. Growth and Character Development

Flaws provide the opportunity for growth and character development throughout the narrative. As characters face their flaws, they are compelled to confront their limitations, make mistakes, and learn from them. This journey of self-discovery and transformation not only adds depth to the narrative but also allows for the development of relatable and dynamic characters.

3. Conflict and Tension

Characters with flaws bring conflict and tension to the storyline. Their weaknesses create internal struggles as well as conflicts with other characters, pushing the plot forward and creating engaging and dramatic situations. External or internal flaws often lead to obstacles and challenges driving the narrative and holding the audience's attention.

4. Realism and Authenticity

Flawless characters can appear too idealistic and perfect, resulting in a lack of belief. By introducing flaws, writers create more realistic and authentic characters. Just like real people, flaws make characters multi-dimensional, providing them with strengths and weaknesses that shape their decisions, actions, and relationships. Flaws also allow for a sense of unpredictability, keeping readers or viewers invested in the character's journey.

5. Story Arcs and Redemption

Flaws pave the way for story arcs and redemption. Characters may start with significant weaknesses, but through their journey, they can overcome their flaws or find ways to cope with them. This arc of growth and redemption offers a satisfying narrative experience. Witnessing characters triumph over their shortcomings and transform into better versions of themselves can be inspiring and have a meaningful impact on the audience.

6. Moral and Ethical Dilemmas

Flaws can raise moral and ethical dilemmas within a character's journey. Characters struggling with their weaknesses may face difficult choices that test their principles, forcing them to question their values and make decisions that have consequences. Such dilemmas add complexity to the narrative, allowing for introspection and discussions of important themes and issues.

In conclusion, flaws are crucial for creating rich, relatable, and captivating characters. By incorporating flaws into their personalities, writers can develop multi-dimensional characters who face challenges, grow, and resonate with readers or viewers on a deeper level. Flaws bring realism, conflict, growth, and redemption to the forefront of storytelling, creating narratives that are both engaging and thought-provoking. So let us celebrate the beauty of flaws and embrace the imperfections that make characters truly extraordinary.

Also see:

• 50 Character Flaws You Can Use in Writing
   

Writing Realistic Fiction

Writing Realistic Fiction

 

Realistic fiction is a type of fiction in which a story is told that could easily happen in today's society. It contains believable characters and events and takes place in an actual setting, but the storyline itself is one that has never actually happened. Characteristics of realistic fiction include:

• Conflicts that the reader could face in everyday life

• A setting that takes place in the present-day and is an actual location or a fictional place that could be real

• Characters that seem like actual people you might encounter

• Conflicts that are solved realistically

Example: Bethany has a perfect life. She lives off the coast of Monterrey in a beautiful home with a wonderful husband and two small children whom she loves dearly. She has everything she's ever wanted until one day she wakes up and has completely forgotten who she is. With the help of a group of doctors and her husband, will she be able to remember who she is and everything she holds dear?

Six Fiction Elements of Writing a Short Story

 

Six Fiction Elements of Writing a Short Story

 

What Is a Short Story?

A short story is a work of short, narrative prose that is usually centered around one single event. It is limited in scope and has an introduction, body, and conclusion. Although a short story has much in common with a novel, it is written with much greater precision. Any time you write a short story of fiction or an essay on short fiction, the following guide and questions may help you.

Once you examine these narrative elements, you want to look for PATTERNS, or MOTIFS, in the work.  Pay attention to words & images that are related

Setting

Setting is a description of where and when the story takes place. In a short story there are fewer settings compared to a novel. The time is more limited. Ask yourself the following questions:

• How is the setting created? Consider geography, weather, time of day, social conditions, etc.
• What role does setting play in the story? Is it an important part of the plot or theme? Or is it just a backdrop against which the action takes place?
• Does the setting change? If so, how?

Study the time period, which is also part of the setting, and ask yourself the following:

• Who is the story written for?
• Does it take place in the present, the past, or the future?
• How does the time period affect the language, atmosphere or social circumstances of the short story?

Characterization

Characterization deals with how the characters in the story are described. In short stories there are usually fewer characters compared to a novel. They usually focus on one central character or protagonist. Ask yourself the following:

• Who is the main character?
• Who or what is the antagonist?
• Are the main character and other characters described through dialogue – by the way they speak (dialect or slang for instance)?
• Has the you described the characters by physical appearance, thoughts and feelings, and interaction (the way they act towards others)?
• Are they static characters who do not change?
• Are they dynamic characters who change?
• What type of characters are they? What qualities stand out? Are they stereotypes?
• Are the characters believable?
• Do the characters symbolize something?

Plot and Structure

The plot is the main sequence of events that make up the story. In short stories the plot is usually centered around one experience or significant moment. Consider the following questions:

• What is the most important event?
• How will the plot be structured? Is it linear, chronological or does it move around?
• Is the plot believable?

CONFLICT:  Conflict or tension is usually the heart of the short story and is related to the main character. In a short story there is usually one main struggle.

• How would you describe the main conflict?
• Is it an internal conflict within the character?
• Is it an external conflict caused by the surroundings or environment the main character finds himself/herself in?

CLIMAX:  The climax is the point of greatest tension or intensity in the short story. It can also be the point where events take a major turn as the story races towards its conclusion.

• When does the climax take place?

RESOLUTION:  The resolution is the end of the story. It focuses on how the conflict is ultimately resolved.

• Are the closing sentences significant? How does the end relate or connect to the opening?

Narrator and Point of View

The narrator is the person telling the story.  Consider this question: Are the narrator and the main character the same?

By point of view we mean from whose eyes the story is being told. Short stories tend to be told through one character’s point of view. The following are important questions to consider:

• Who is the narrator or speaker in the story?
• Does the author speak through the main character?
• Is the story written in the first person “I” point of view?
• Is the story written in a detached third person “he/she” point of view?
• Is there an “all-knowing” third person who can reveal what all the characters are thinking and doing at all times and in all places?
• Is the narrator trustworthy?

Style

The author’s style has to do with the his or her vocabulary, use of imagery, tone, or the feeling of the story. It has to do with the author’s attitude toward the subject. In some short stories the tone can be ironic, humorous, cold, or dramatic.

• Is the language full of figurative language: metaphors, symbols, personification, etc.?
• What images are used?
• What is the tone or mood of the story?

Theme

The theme is built on a topic, such as death, hope, the American dream, etc. and how the topic affects the human condition, society, or life.  As a reader, focus on what the story is revealing about the topic.  The theme should be expressed as a statement, a general observination about human nature.

To help you write a thematic statement for your short story, consider the following:

• What is the story about – its general topic(s) (IE:  money, wealth, death, etc.)?
• How is the topic developed? (Consider how characters change, symbols, climax, etc.)
• Do you notice any patterns in imagery, diction, etc.?
• Does the title have any significance?
• Does the narrator or character include any statement(s) that reveals a theme or observation?

What a theme is NOT:

• a word or phrase (topic or subject)
• a command
• a judgment

To help you construct the thematic statement, make a list of important images, topics, etc. found in the text.  Try to create a statement that includes the words in your list.

Also see:

• Story Elements: 7 Main Elements of a Story and 5 Elements of Plot
  

A Quick Note on Writing Flash Fiction for the Novice Writer by Ryker J. Phoenix

 

 A Quick Note on Writing Flash Fiction for the Novice Writer

 

by Ryker J. Phoenix

 

  Flash fiction, also known as micro fiction or sudden fiction, is a genre of writing that is a form of short fiction that tells a complete story in a very brief amount of space, often under 1500 words.

The most renowned writers in the English-speaking world like flash fiction because it can capture profound truths and common human emotions in only a few brief phrases. Flash fiction, when written correctly, has the power to speak universal truths and touch readers of different backgrounds. 

Take this one for instance,  "For sale: baby shoes, never worn," is a six-word story, popularly attributed to Ernest Hemingway, although the link to him is unlikely. It is an example of flash fiction in it's shortest form. The amount of emotion packed into these words inspired many writers to try their hand at the genre.

Here are some tips to help you write flash fiction:

1. Start with a concept or idea: Flash fiction often relies on a single idea or concept that is explored and executed in a concise and engaging way. This can be something simple, like a thought or a feeling, or it could be something more complex, like a specific event or situation.

2. Focus on a single character or moment: Because flash fiction is so short, it's important to limit the scope of the story. Focus on a single character or a single moment in time to create a sense of intimacy and immediacy.

3. Use sensory detail to create atmosphere: Flash fiction often relies on sensory detail to create atmosphere and evoke emotion in the reader. Use vivid detail to create a rich and immersive reading experience.

4. Make every word count: Because space is limited, every word in a piece of flash fiction needs to be carefully chosen to convey the maximum amount of information and emotion.

5. Experiment with form and structure: Flash fiction can take many different forms, from traditional narratives to experimental structures. Try playing around with different forms to find the one that best suits your story.

6. Edit ruthlessly: Because flash fiction is so condensed, editing is incredibly important. Cut any unnecessary words or phrases and make sure every sentence is contributing to the overall purpose of the story.

7. End with a twist or surprise: Flash fiction often has a twist or surprise ending that subverts the reader's expectations. Think creatively about ways to surprise your reader in the final moments of your story.

 The number one thing to remember is flash fiction writing requires control. You have to choose words wisely because of the word count restriction.

Also see:

• What Is Flash Fiction? Meaning, Characteristics, and Examples
  

 

 More Quick Notes for the Novice Writer

Making Irony Work by Randy Ingermanson | Advanced Fiction Writing

 

Making Irony Work

 

by Randy Ingermanson 

 

Advanced Fiction Writing

 

If you’ve spent much time at all on email lists or social media, you’ve probably noticed a couple of weird things that happen:

• You make a hilarious comment, and then some whacko you don’t even know takes your remark seriously and thrashes you for being “stupid” when you were actually being ironic.
• Somebody you don’t know says some incredibly ridiculous thing, so you take the time to point out how dumb that is, and then they claim they were just being ironic and you didn’t get it, so you’re the dummy.

Never happened to you? Well it’s happened to people I know.

What’s going on here?

Context is King

Irony, satire, sarcasm—call it whatever you want—only works when your listeners or reader have context.

When you use irony, your intended meaning is the opposite of the face value of your words. So people need to understand you and the context of the situation, or they won’t even recognize you’re being ironic.

It’s dangerous to toss out an ironic remark when people don’t have the context to spot the irony.

Tone Matters

Even if people don’t have much context, they can often tell from the tone of your voice or your facial expressions that you’re being ironic. Which is what makes email lists and social media so tricky. Because written words don’t pronounce themselves or make appropriate facial expressions. Written words just lie there dead on the screen.

If you’re a good writer and you write enough words, people can often pick up cues from your written tone. But it takes longer to establish a written tone than a verbal one.

Using Irony in Fiction

You can use irony and satire and sarcasm in your fiction. You just have to lay the groundwork.

You need to set the context clearly, and that takes time. There’s no rule on how many words it takes to set the context. Use enough to get the job done.

Irony and sarcasm give you a golden opportunity to create conflict in your novel. One character says something they mean as a joke. Another character takes it literally. Sparks fly. It happens all the time in real life. It’ll be believable in your fiction—but only if your reader gets the intended meaning. Which goes back to filling in the context.

Homework

• Do you use sarcasm or irony or satire in your novel?
• What information will your reader need to know in order to get the joke?
• Will that information be generally known ten years from now? In a foreign country? By people who aren’t in your subculture?
• Are there any ways you can work in some of that information into the story so your book is accessible to more people, for longer?

 

About The Author

Randy Ingermanson is a theoretical physicist and the award-winning author of six novels. He has taught at numerous writing conferences over the years and publishes the free monthly Advanced Fiction Writing E-zine.

 

 Randy Ingermanson Books at Amazon

 

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The Gaps Between Your Scenes by Randy Ingermanson | Advanced Fiction Writing

 

The Gaps Between Your Scenes

 

by Randy Ingermanson 

 

Advanced Fiction Writing

 

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Scenes are the fundamental units of fiction.

What does that mean? It means the following:

• A novel is made up of scenes.
• Each scene is a miniature “story-within-a-story”.
• Your reader consumes these scenes in order.

Just as an example, if your novel is 100,000 words, and if your scenes are, on average, about 1000 words, then your novel would have about 100 scenes. Your own numbers will be somewhat different than these, but I give these as an example to show what orders of magnitude we’re talking about.

But scenes don’t live alone as separate things. They tend to cluster into groups, which I call “sequences of scenes.” (I don’t think there’s any standard term; few books on fiction writing even talk about these sequences.) The scenes in each sequence work together to form a chunk of your story. When you submit a synopsis to a publisher, usually each paragraph of the synopsis tells what happens in one scene sequence.

A sequence of scenes is typically somewhere between 2 and 7 scenes. It typically is clustered together in time (and often clustered in space). A sequence of scenes is often clustered together in theme. A novel will typically have around 20 of these scene sequences.

Now here’s the important point. Very often, there’ll be a gap in time between your sequences of scenes. Maybe all the scenes in one sequence happen in the same day, and then time skips forward by a few days before the next sequence begins. Or maybe all the scenes in a sequence happen over the course of a few weeks, and then time skips forward several months or even years.

How do you handle those gaps in time? If you’re not careful, you can lose your reader. (“Hey, it was January for several scenes, and now suddenly it’s July! I feel like I’ve missed something.”)

There are a number of techniques you can use to help bridge the gap between sequences of scenes. In this article, we’ll talk about three of them, but you can probably think of others.

Character Continuity

Most novels are written so that each scene has a point-of-view character. It’s very common to use several different POV characters, switching between them every time you switch to a new scene.

If that’s your strategy, you can help bridge the gap from one scene sequence to the next by using the same POV character in the last scene of the earlier scene sequence and in the first scene of the later scene sequence.

Then, even though time has passed, the reader feels less of a “speed bump,” because at least they’ve crossed that big time gap inside the skin of the same character.

Plot Continuity

Scenes typically are of two types:

• Proactive Scenes, which begin with a Goal, work through an obstacle course of Conflicts, and end with a Setback.
• Reactive Scenes, which begin with a Reaction, work through a Dilemma, and end with a Decision.

(If this is new to you, you might find helpful my book How to Write a Dynamite Scene Using the Snowflake Method.)

When you’re making a transition from one scene sequence to another, you can smooth the gap by either of the following two strategies:

• End the earlier scene sequence on a Reactive Scene with some Decision which then forms the Goal for a Proactive Scene that begins the next scene sequence.
• End the earlier scene sequance on a Proactive Scene with some Setback, and begin the next scene sequence with a Reactive Scene in which the Reaction responds to the Setback of the previous scene.

Either way, you’ve made a plot bridge that will help carry your reader across that gap in time.

Theme Continuity

Stories are “about something.” Most stories are, anyway. Theme is the thing that the story is about. This is often some abstract thing like freedom or hope or love or hate or death or war or whatever.

If your story is very strongly theme-oriented, then you’ll have some scenes in which the theme rises to the top and is highly visible.

If you arrange to end one scene sequence with your theme highly visible, and then begin the next scene sequence with that same theme still highly visible, you’ve bridged the gap nicely.

Homework:

• How many scenes does your current novel have?
• And how many scene sequences? (If you’ve never noticed the scene sequences before, now is a good time to look at them. In a synopsis of a few pages, typically each paragraph covers one scene sequence, so that’s an easy way to spot them.)
• Do you have any large gaps in time between any of your scene sequences? (Some novels don’t, but some have several. Either situation is OK, but you should be aware of what you’re dealing with.)
• Do you need to do any work to bridge these time gaps, if you have them? (You may have already done all your time transitions perfectly, but it doesn’t hurt to check and make sure there are no speed bumps in your story.)
• If there are a few large breaks in time, what strategy can you take to ease your reader through each one, so they don’t feel disoriented?

 

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About The Author

Randy Ingermanson is a theoretical physicist and the award-winning author of six novels. He has taught at numerous writing conferences over the years and publishes the free monthly Advanced Fiction Writing E-zine.

 

 Randy Ingermanson Books at Amazon

 

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Courage by Randy Ingermanson | Advanced Fiction Writing

 

Courage

 

by Randy Ingermanson 

 

Advanced Fiction Writing

 

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What’s the point of Story? Why are people hungry for Story? What can you do to ensure that your stories give people the one thing they so desperately want?

A couple of years ago, when I was writing my book How to Write a Dynamite Scene Using the Snowflake Method, I realized that Story is a community project. The point of Story is to keep the community alive.

The Tale of the Tiger

In that book, I gave as an example a story that must have been told zillions of times by our ancestors—the Tale of the Tiger. It’s a story of how a village deals with a threat to its survival when a marauding tiger targets the village’s herd of goats.

The village fights back, in the Tale of the Tiger, by organizing a tiger hunt. This is a high-stakes battle. A drought has ravaged the village’s farms, and the goats are the village’s last defense against starvation. If the village doesn’t kill the tiger, the village will die. Which means that every villager must be willing to die, if that’s what it takes to kill the tiger.

In the Tale of the Tiger, the viewpoint character is the youngest man in the village, the weakest link that the tiger attacks in the final showdown. Our hero has heard the Tale of the Tiger many times, and the Tale has taught him how to face his fears, face the tiger, and attack when all his instincts tell him to turn and run.

A Hero Is Not Enough

The key insight I had when writing the Tale of the Tiger is that our hero is not solely responsible for killing the tiger. The rest of the village plays a role by driving the tiger out of hiding.

The village story-woman plays a role, by the thousand times she has told the Tale of the Tiger in the past.

In some sense, the Tale of the Tiger itself kills the tiger.

The Powers We Face

It’s rare that any of us ever have to face a literal tiger. And yet we face metaphorical tigers every day. We face:

• Vindictive bullies.
• Well-meaning family or friends.
• Broken relationships or depression or loneliness.
• Governments or corporations or faceless organizations that do us harm.
• Damaging social and cultural and political forces.
• A hostile environment.
• Our own mortality.
• And on and on.

In a word, we face what theologian Walter Wink called the Powers. The Powers are mostly abstract and non-physical, but they’re real all the same.

The two key features of the Powers are these:

• The Powers are stronger than we are.
• The Powers will destroy us unless we find a way to defeat them.

Why Story Matters

The point of Story is to teach us how to defeat the Powers that threaten us, whatever they may be.

The Powers you face on any given day may be different from the ones I face. Therefore, the tactics you use to defeat the Powers may be different from the tactics I use.

But no matter what tactics we use, we all need one thing in order to face the Powers.

We need courage. Courage to face the tiger. Face the bully. Face your family. Face your friends. Face your government or your church or the company you work for. Face whatever Power means you harm.

Without courage, tactics are useless. Without courage, you will fold. Without courage, you will be destroyed by the Powers.

Story and Courage

The reason we desperately need Story is because Story puts us inside the skin of a character who has the courage to face the Powers.

By doing that, Story gets inside our own skin and trains us in the way of courage. Story builds our emotional muscle memory. Story trains us to face down any Power, however strong.

The more I learn about Story, the more I see that it’s all about giving my reader a blood transfusion of courage. And the side benefit is that it gives me a blood transfusion of courage.

Think about the last novel you read or the last movie you watched. Who was the lead character in the story? What Powers did they face? In what way did the Powers threaten to destroy the lead character? How did the lead Character defeat the Powers they faced? (Or how was the lead Character defeated by the Powers?) What role did courage play in the lead character’s victory? (Or what role did a lack of courage play in their defeat?)

Homework

• Who is the lead character in the story you’re writing right now?
• Do they face a Power?
• Does the Power threaten to destroy them?
• Where does your lead character find the courage to fight back?
• Does thinking about the Powers and courage help you clarify your story?

 

About The Author

Randy Ingermanson is a theoretical physicist and the award-winning author of six novels. He has taught at numerous writing conferences over the years and publishes the free monthly Advanced Fiction Writing E-zine.

 

 Randy Ingermanson Books at Amazon

 

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Your Character Bible by Randy Ingermanson | Advanced Fiction Writing

 

Your Character Bible

 

by Randy Ingermanson 

 

Advanced Fiction Writing

 

Most novels contain several major characters. And maybe a dozen minor characters. And maybe twice that number of walk-on characters. Or more.

If you’re writing a series, you know that each book seems to accumulate new characters.

After awhile, it gets hard to remember all the details about all your characters. And how they’re related to each other. When did they get married? When did they get divorced? When did they die? When did they have kids?

Any of your characters can potentially have some sort of relationship with any of your other characters. If you have 10 characters, that’s 45 possible relationships to keep track of. If you have 50 characters, that balloons up to 1225 possible relationships!

And every character has a history. And a physical description.

The details grow exponentially until it’s impossible to remember it all. Sure, you can search through your manuscript using your word processor. But if Joe is on every page, your search function may not help a whole lot. Or if you have three characters named Mary, that’s a lot of wrong Marys to sort through. (Who would be dumb enough to write a novel with three Marys? Somebody writing a historical novel that has three actual historical persons named Mary. It happens.)

And it gets even more complicated when you’ve written a lot of books, and your list of characters expands up into the hundreds.

That’s why many authors create a “character bible” that has all the details on every character. Because if it’s 3 AM on the night before final edits are due on your book, you don’t want to be frantically trying to track down what year Harry met Sally so you can figure out how old she was on that magic day.

Speaking from personal experience, on the last night before a book is due, I prefer to be sleeping at 3 AM. But usually I’m doing final fact-checks and checking off my punch-list of last-chance detail-questions on the story.

How to Make a Character Bible

Making a character bible is not that complicated.

A character bible needs to be on a computer, because this is the 21^st century, and we don’t have to do things the slow way anymore.

One way to do it is to just make a Word document or a Scrivener document. Start with the names of all your characters. Under each character, leave some space.

Then start filling in information. The kind of information you need depends on what kind of book you’re writing, but for most books, the date and year a character was born is a good place to start. Then work out their age when the story takes place. You probably also want some basic info like height, weight, physical description, color of eyes and hair.

After that, you have a lot of different things you could add. What does the character want in life? What is their goal in the story? What are their personal values that control how they make decisions? Where do they live? Where were they raised? What events in their past have put scars on them in the present? What do they do for a living? Who else in the story are they related to?

You can easily think of hundreds of questions you could potentially ask. Most of these are irrelevant to your story. Leave those out and put in the ones that are relevant.

Using Your Character Bible in Story Development

Many writers build their character bible while developing the story. That is, they grow the plot and their characters out in stages, working a bit on one and a bit on the other until they have a clear understanding of the story. My Snowflake Method uses this approach.

Of course you don’t have to use a character bible to develop your story. A lot of writers just write the story and let things happen. Characters appear and reveal who they are. If you’re writing your story this way, it’s still a useful thing to keep a character bible. As each new character comes on stage, you can easily update your character bible with the basic info on that character. As your story moves along, you’ll learn more and more about your character. As you do, it’s a smart idea to keep adding to your character bible.

Should You Create a Character Bible?

Making a character bible is a lot of work, so it’s worth asking whether you really have to do it.

No, you don’t have to do it. You don’t have to do anything. You can write your novel however you like.

Keep in mind the reason anyone creates a character bible. It’s to help them keep their characters consistent.

The classic example is the novel where John has blue eyes when we meet him on page 10, green eyes on page 154, and brown eyes on page 302. There are readers who will find this an insult to their intelligence and will let you know about it. If this matters to you, your character bible will give you the definitive answer on the color of John’s eyes. And then when you’re doing final panicked edits at 3 AM, you know where to look.

If the color of eyes seems like a trivial detail, I can’t argue with you. Lately, I’ve been writing novels set in a place where all the characters have brown eyes, so I don’t really care about eye color. But the motivations of your characters is something slightly more important. And your character bible is a fine place to keep track of that. Along with a whole lot of other important stuff.

Homework:

• Does your novel need a character bible? (There’s no wrong answer here, but for every book, you get to decide, and your choices are “yes” or “no.”)
• If you need a character bible, what’s your best option for creating it?
• If you don’t know your best option, then that’s a research question that you need to tackle first.
• Once you figure out what tool you’re going to use, start by creating a separate entry for every character you care about. You won’t fill in the same level of detail for all characters, but every character worth caring about has a name, so start there. Then just add info as you have time and energy.
• Someday at 3 AM, you may thank me for this. You’re welcome.

About The Author

Randy Ingermanson is a theoretical physicist and the award-winning author of six novels. He has taught at numerous writing conferences over the years and publishes the free monthly Advanced Fiction Writing E-zine.

 

 Randy Ingermanson Books at Amazon

 

More Advanced Fiction Writing