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?

A Quick Note on Story Stakes in Fiction Writing for the Novice Writer

 

 A Quick Note on Story Stakes in Fiction Writing for the Novice Writer

 

by Ryker J. Phoenix

 

 Great stories are defined by the stakes that they present. Without stakes, a story can become bland and uninteresting. The stakes of a story refer to what the characters stand to gain or lose throughout the course of the story. The stakes of a story can be classified into three levels: personal, interpersonal, and global. Each level of stakes provides a different perspective on the story and adds to the overall tension and drama.

The first level of stakes is personal. This level refers to what the main character stands to gain or lose in their personal life. It is the most intimate level of stakes and often involves the character's emotional well-being. Personal stakes can range from something as simple as a character's desire to find love, to something as complex as their desire to overcome a traumatic experience. Personal stakes are essential because they connect readers to the character's emotions, making them feel invested in the character's journey.

The second level of stakes is interpersonal. This level refers to what the main character stands to gain or lose in their relationships with others. Interpersonal stakes involve the character's relationships with other characters, and the impact that their actions will have on those relationships. For example, a character may have to choose between their loyalty to a friend and their own personal gain. Interpersonal stakes are important because they add an element of conflict to the story, making it more engaging and exciting for readers.

The third level of stakes is global. This level refers to what the main character stands to gain or lose in the larger world around them. Global stakes involve the impact that the character's actions will have on the world at large. For example, a character may have to save the world from a catastrophic event. Global stakes are important because they raise the stakes of the story to a higher level, making the story more epic and grand in scale.

In conclusion, the levels of stakes in a story are essential to creating a compelling and engaging narrative. Personal stakes connect readers to the character's emotions, interpersonal stakes add conflict and tension to the story, and global stakes raise the stakes to a higher level. Without stakes, a story can become dull and uninteresting. Understanding the levels of stakes and incorporating them into a story is key to creating a memorable and impactful narrative.
 

Also see:

• The 3 Levels of Stakes Every Great Story Needs

 

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A Quick Note on Twisting Genres in Fiction Writing for the Novice Writer by Ryker J. Phoenix

 

 A Quick Note on Twisting Genres in Fiction Writing for the Novice Writer

 

by Ryker J. Phoenix

 

Successful writers are often praised for their ability to take the genres they are working in and twist them in a unique way that captures the attention of their readers. This ability to innovate and create something fresh and exciting is what sets successful writers apart from their peers.

Every genre has its conventions and tropes that readers have become familiar with over time. For instance, in the romance genre, there is often a predictable plotline involving two people falling in love and overcoming obstacles to be together. In the mystery genre, there is usually a detective who solves a crime by piecing together clues.

However, successful writers take these conventions and twist them in such a way that the story becomes almost unrecognizable. They may introduce unexpected elements or subvert readers' expectations to create a unique and surprising narrative.

One example of a successful writer who has done this is Gillian Flynn, author of the novel "Gone Girl." While "Gone Girl" is marketed as a mystery thriller, it defies many of the conventions of the genre. Instead of a straightforward whodunit, the novel is a complex and twisted story of a dysfunctional marriage and the secrets that the characters keep from one another. Flynn's unique twist on the genre captivated readers and made "Gone Girl" a bestseller.

Another example is the writer Neil Gaiman, who has gained a following for his ability to blend genres and create stories that defy categorization. In his novel "American Gods," Gaiman takes elements of fantasy and mythology and combines them with a road trip narrative to create a unique and engaging story. By twisting the genre in this way, Gaiman creates a world that is both familiar and strange, drawing readers in with its originality.

By taking the genres they are working in and twisting them in a unique way, successful writers are able to capture readers' attention and create stories that stand out from the crowd. This ability to innovate and create something fresh is what sets successful writers apart and helps them to carve out a place in the literary world. Whether it is through unexpected plot twists, unique characters, or a blend of genres, successful writers are constantly pushing the boundaries of what is possible in their chosen genre.


 

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A Quick Note on Writing and Writers in Fiction Writing for the Novice Writer

A Quick Note on Writing and Writers in Fiction Writing for the Novice Writer

 

by Ryker J. Phoenix

 

  Writing is often thought of as a solitary pursuit, with writers holed up in their rooms, typing away at their keyboards or scribbling in notebooks. But the truth is that writers are so much more than just people who write. They are creators, developers, builders, and innovators. They are storytellers who bring new worlds to life and dreamers who imagine the impossible.

At their core, writers are developers. They take an idea, whether it's a fictional story or a non-fictional piece, and turn it into something tangible. They create characters, settings, and plots, weaving them together to form a cohesive whole. They develop their ideas, building on them until they become something that others can read and enjoy.

But writers are not simply developers; they are also creators. They have the ability to bring new ideas and concepts to life, to create something from nothing. They can take a blank page and turn it into a world full of wonder, with characters that jump off the page and settings that readers can imagine themselves in. They have the power to inspire, to move people with their words and ideas.

As storytellers, writers are masters of their craft. They have the ability to transport readers to new worlds, to make them feel like they are a part of the story. They can create tension, suspense, and drama, keeping readers on the edge of their seats until the very end. They can make us laugh, cry, and feel all the emotions in between.

But writers are not just storytellers; they are also builders. They have the ability to create entire worlds, with their own rules, cultures, and histories. They can build complex systems of magic, technology, or politics, creating intricate webs of relationships and conflicts. They can create entire civilizations, with their own customs, languages, and traditions.

Writers are also originators. They have the ability to come up with new ideas, to imagine things that have never been seen or heard before. They can take existing concepts and turn them on their head, creating something entirely new and original. They can push the boundaries of what is possible, exploring new frontiers and breaking new ground.

And last but not least, writers are innovators and dreamers. They have the ability to imagine the impossible, to dream of worlds beyond our own. They can create stories that challenge our assumptions and beliefs, that make us question the world around us. They can inspire us to dream big, to think outside the box, and to believe that anything is possible.

In conclusion, writers are so much more than just people who write. They are developers, creators, storytellers, builders, originators, innovators, and dreamers. They have the ability to create new worlds and inspire readers to dream big. They are an essential part of our cultural landscape, and their contributions should be celebrated and valued.
 

 

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

 

 A Quick Note on Style in Fiction Writing for the Novice Writer

 

by Ryker J. Phoenix

 

 Style is a crucial element of creative writing that is often overlooked. It encompasses a writer's choice of words, sentence structure, and overall tone to create a unique voice and tone for their work. When it comes to fiction stories and novels, style becomes even more important as it sets the tone and atmosphere of the story and allows the writer to convey their message effectively.

Word choice is the foundation of style in creative writing. The words an author chooses to employ can be the difference between a boring and unremarkable story and a captivating and memorable one. The choice of words determines the tone, mood, and atmosphere of the story. A skilled writer can use words to create a vivid and believable world for the reader to immerse themselves in. For instance, a writer can use descriptive words to paint a picture of a beautiful sunset or a frightening monster, or they can use abstract words to create a sense of mystery or ambiguity.

Sentence structure is another crucial element of style in creative writing. The way a writer structures their sentences can affect the pace and flow of the story. Short, simple sentences can create a sense of urgency or excitement, while longer, more complex sentences can slow down the pace and create a more contemplative tone. A writer can also use sentence structure to convey a character's thoughts, emotions, and personality. For example, a character who is anxious or nervous may speak in short, fragmented sentences, while a character who is confident and self-assured may speak in longer, more flowing sentences.

Overall tone is the final component of style in creative writing. The tone of a story sets the emotional atmosphere and can affect how the reader perceives the story. It can be serious, humorous, melancholic, or any other emotion the writer wishes to convey. The tone can be established through the use of language, sentence structure, and plot events. For instance, a writer can use dark and foreboding language to create a sense of tension and suspense or use light and playful language to create a sense of humor and whimsy.

In conclusion, style is an essential element of creative writing that encompasses word choice, sentence structure, and overall tone. Fiction stories and novels are an exciting place for writers to play around with bold stylistic choices and create their unique voice and tone. There are no style guides or rules for fiction stories, which allows writers to experiment and push the boundaries of what is possible. By mastering style, a writer can create stories that are captivating, memorable, and truly unique.
 

 

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Writing the Short-Story: A PRACTICAL HANDBOOK ON THE RISE, STRUCTURE, WRITING AND SALE OF THE MODERN SHORT-STORY by J. Berg Esenwein (PDF)

 Writing the Short-Story: A PRACTICAL HANDBOOK ON THE RISE, STRUCTURE, WRITING AND SALE OF THE MODERN SHORT-STORY

 

by J. Berg Esenwein

Foreword  

To Teachers 

Historical Introduction 

I. THE RISE OP THE SHORT-STORY 

1.  Thg Story-Teller
2. The Epic 
3. The Ancient and Medieval Tale  
4. The Sacred Books of the East  
5. The Drama  
6. The Novel  
7. Other Literary Forms  
8. The Perfecters of the Short-Story  

II. ITS PRESENT PLACE AND POWER 

1. The Short-Story and the Novel  
2. Reasons for Popularity  
3. The Influence of the Short-Story 

PART I — THE NATURE OF THE SHORT-STORY 

Chapter I — What is a Short-Story

I. What a Short-Story is Not  

1.  Not a Condensed Novel  
2. Not an Episode  
3. Not a Scenario  
4. Not a Biography  
5. Not a Sketch  
6. Not a Tale  

II. What a Short-Story Is  

Exercises

Chapter II — Kinds op Short-Story

1. Based on Types of Humanity  
2. Based on the Moral Nature  
3. Based on Occupations  
4. Based on Locality  
5. Based on Wonder 
6. Based on Social Classes  
7. Based on Emotion in the Story  

Exercises  

PART II— THE STRUCTURE OF THE SHORT- STORY 

Chapter I — Choosing a Theme 

1.  Spontaneous Choice  
2. Seeking Out a Theme  
3. Themes Barred  

Exercises  

Chapter II Gathering the Materials 

1.  Observation  
2. Experience  
3. Self-Study  
4. Rejection  
5. Reading  
6. Discussion   
7. Taking Notes  

Exercises

Chapter III— Fact in Fiction 

 Types of Fiction  

(a) Realistic

(b) Romantic

(c) Idealistic

(d) Composite

 2. Use of Facts  

Exercises  

Chapter IV — Plot 

I. What is a Short-Story Plot  

1.  Kinds of Plot  
2. Surprise  
3. Problem  
4. Mystery   
5. Emotion  
6. Contrast   
7. Symbolism  

III. What Constitutes a Good Plot

1.  Simplicity  
2. Plausibility  
3. Originality  
4. Climax  
5. Interest  

Exercises  

Chapter V — Plot Development 

I. Sources of Plot  

1.  Characters  
2. Dramatic Incidents  
3. Impressionism  

II. Actual Plot Development  

Exercises  

Chapter VI — How Stories are Told 

1.  Third Person
2. First Person  
3. Letter Form  
4. Diary Form  
5. Composite Form  

Exercises  

Chapter VII. — The Opening of the Stokt 

I. The Best Usage  

1.  Opening with Dialogue  
2. Opening without Dialogue  

II. Bad Usage  

Exercises

Chapter VIII — The Setting op the Stoky 

I. Setting in General  

II. Description to Convey Setting

1.  By Suggestion  
2. By Epithet   
3. By Hint  
4. Direct  
5. By Effects  
6. Figures of Speech  
7. Point of View  
8. Seven Steps m Description

III. The Elements of Setting  

1.  Time
2. Place  
3. Occupations  
4. Conditions 
5. The Setting Entire  

Exercises  

Chapter IX — The Body of the Story 

 Incident  

 Emotion 

(a) Love Interest

(b) Pathos

(c) Mirth

(d) Emotion in the Story

(e) Emotion in the Author

Exercises  

Chapter X— The Body of the Stoy — Concluded 

1.  Crisis  
2. Suspense  
3. Climax  
4. Denouement  
5. Conclusion   

Exercises  

Chapter XI — Characters and Characterization 

I. The Characters  

1.  Selecting the Characters  
2. Number of Characters  
3. Classes of Characters  
4. Relations  
5. Author's Attitude  

II. Characterization  

1.  Effect to be Attained  
2. General Methods  
3. Specific Methods  

Exercises  

Chapter XII — Dialogue 

1.  Proportion  
2. Office   
3. Subject Matter 
4. Manner 

Exercises 

Chapter XIII— The Title 

1.  Functions 
2. Good Titles  
3. Titles to Avoid

Exercises   

Chapter XIV— Style 

General View  

Exercises 

Chapter XV — Some Special Characteristics of the Short*

1. Story  
2. Harmony of Tone  
3. Proportion  
4. Simplicity  
5. Compression  

Exercises  

PART III— PREPARATION FOR AUTHORSHIE 

Chapter I — What is Originality 

1.  The Test of Originality  
2. The Sources of Originality  

Exercises  

Chapter II — Talent and Training
Views of Eminent Writers  

Chapter III — Acquiring a Vocabulary

1.  Study of Short-Story Models  
2. The Dictionary Habit 
3. Synonyms and Antonyms  
4. Conversations on Words  
5. Translating Languages   
6. Study of Etymology  
7. Broad Usage  

Chapter IV — The Study of the Short- Story — A Laboratory Method 

Critical Estimates of the Author Studied  
"The Necklace," by Guy de Maupassant  

Exercises  

PART IV— THE MANUSCRIPT AND ITS MARKET 

Chapter I — Writing the Story

1.  The Management of Notes  
2. Revision  
3. Preparing the Manuscript  

Chapter II — Selling the Story 

1.  The Ordered Manuscript  
2. The Literary Agent  
3. Calling on the Editor  
4. Offering the Story by Mail  

Chapter III — Why Stories are Rejected — a Colloquy 


Appendix A — Collections of Short-Stories, Sketches, and Tales

Appendix B — One Hundred Representative Short-Stories

Appendix C — The Plots of Twenty Short-Stories  

Appendix D — Digest of Rhetorical Rules Appucable to

Short- Story Writing

Appendix E — Abbreviations of Publishers' Addresses  

Appendix F — Books for a Fiction- Writer's Library  ,

Appendix G — Bibuography

Appendix H — Supplementary Reading Lists, Added in  

General Index  



Writing the Short-Story: A PRACTICAL HANDBOOK ON THE RISE, STRUCTURE, WRITING AND SALE OF THE MODERN SHORT-STORY by J. Berg Esenwein



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A Quick Note on Metaphors in Fiction Writing for the Novice Writer

 

 A Quick Note on Metaphors in Fiction Writing for the Novice Writer

 

by Ryker J. Phoenix

 

 Metaphors are a powerful tool in fiction writing, allowing writers to create vivid and imaginative descriptions that engage the reader's senses and emotions. A metaphor is a figure of speech that describes one thing in terms of another, suggesting a comparison between the two. It can be used to convey complex ideas, emotions, and experiences in a way that is both concise and evocative.

One of the main benefits of using metaphors in fiction writing is that they can help to create a more immersive and engaging experience for the reader. By comparing one thing to another, the writer can create a deeper understanding of the emotions and experiences of the characters, as well as the world they inhabit. For example, a writer might use the metaphor of a storm to describe the turmoil and conflict within a character's mind, creating a powerful image that resonates with the reader's own experiences.

Metaphors can also be used to convey complex ideas and themes in a way that is both accessible and memorable. For example, in George Orwell's Animal Farm, the metaphor of the pigs as the ruling class and the other animals as the working class is used to explore the corrupting influence of power and the dangers of totalitarianism. By using this metaphor, Orwell is able to create a powerful critique of political systems that rely on inequality and oppression.

Another benefit of using metaphors in fiction writing is that they can help to create a deeper sense of meaning and resonance within the story. By using metaphors to draw connections between different elements of the story, writers can create a more cohesive and meaningful narrative. For example, in J.D. Salinger's The Catcher in the Rye, the metaphor of the catcher in the rye is used to explore the main character's struggle with growing up and finding his place in the world. By using this metaphor throughout the novel, Salinger is able to create a sense of unity and coherence within the story, while also conveying a deeper sense of meaning and significance.

However, it is important to use metaphors judiciously and with care in fiction writing. Overuse of metaphors can lead to a sense of contrivance and artificiality, and can detract from the overall impact of the story. Additionally, metaphors should be used in a way that is consistent with the tone and style of the story, and should not be so abstract or obscure as to alienate the reader.

In conclusion, metaphors are a powerful tool in fiction writing that can be used to create vivid descriptions, convey complex ideas, and create a deeper sense of meaning and resonance within the story. When used judiciously and with care, metaphors can enhance the reader's experience and create a more immersive and engaging narrative.
 

 Also see:

• Metaphors

 

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