A Quick Note on Writing a Spine-Tingling Young Adult Gothic Horror in Fiction Writing for the Novice Writer

 

A Quick Note on Writing a Spine-Tingling Young Adult Gothic Horror in  Fiction Writing for the Novice Writer

 

by Ryker J. Phoenix

 

 Writing a spine-tingling young adult gothic horror is no easy feat. It requires a delicate balance of atmosphere, characterization, and plot, all of which must work together seamlessly to create a sense of unease and dread in the reader. In this article, I will offer some tips and strategies for crafting a successful gothic horror story that will keep readers on the edge of their seats.

First and foremost, setting is key in gothic horror. The physical environment should be dark, foreboding, and oppressive. This can be achieved through descriptions of the weather (fog, rain, storms), the natural landscape (barren, rocky, desolate), or the architecture (damp, decaying, labyrinthine). The setting should feel almost like a character in itself, with its own personality and motivations that contribute to the overall feeling of dread.

Next, the characterization should be carefully crafted to create both tension and empathy. The main character(s) should be flawed and imperfect, struggling with their own fears, doubts, and desires. They should have past traumas or secrets that haunt them and contribute to their vulnerability. Additionally, there should be a powerful villain or antagonist that is equally compelling and complex. The villain should be a source of both terror and fascination, with their own twisted motivations and psychological complexities.

Finally, the plot should be structured in a way that builds suspense and keeps the reader guessing. This can involve utilizing a variety of horror tropes, such as ghosts, demons, curses, and psychological horror. The pacing should be slow and deliberate, with the tension constantly rising until the final climax. This climax should be both satisfying and unexpected, resolving the central conflict while also leaving room for lingering questions and unease.

In conclusion, writing a spine-tingling young adult gothic horror is a challenging but rewarding task. By carefully crafting the setting, characterization, and plot, writers can create a story that is both terrifying and emotionally resonant. While the horror genre often relies on shock value and gore, a successful gothic horror story relies on atmosphere, psychological depth, and a sense of mystery. By mastering these elements, writers can create stories that will haunt readers long after the last page is turned.

 

 Also see:

• How to Write a Horror Story: R.L. Stine’s Tips for Writing Horror
•  What Makes a Gothic Novel: Common Tropes and How to Write One
•  4 Tips for Writing Gothic Horror
•  How to Write Gothic Fiction
  

 

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A Quick Note on "Iceberg Theory" or the "Theory of Omission" in Fiction Writing for the Novice Writer by Ryker J. Phoenix

 

A Quick Note on "Iceberg Theory" or the "Theory of Omission" in  Fiction Writing for the Novice Writer

 

by Ryker J. Phoenix

 

 

 

 Ernest Hemingway, one of the most prominent writers of the 20th century, was known for his concise, minimalist writing style. He believed that the true meaning of a story lies beneath the surface, and that the key to effective storytelling is to leave much unsaid. This approach to writing is commonly referred to as the "Iceberg Theory" or the "Theory of Omission".

The Iceberg Theory is based on the idea that only a small portion of an iceberg is visible above the surface of the water, while the majority of it remains hidden below. Similarly, in writing, only a fraction of the story is explicitly stated, while the rest is implied or left to the reader's interpretation. Hemingway believed that by omitting details and allowing the reader to fill in the gaps, he could create a more powerful and resonant story.

In practice, this meant that Hemingway's writing was sparse and direct, with little to no excess verbiage. He avoided flowery language, adjectives, and adverbs, opting instead for short, declarative sentences and precise descriptions. He also preferred to show rather than tell, allowing the actions of his characters to reveal their thoughts and emotions.

The Iceberg Theory can be seen in many of Hemingway's works, including his early short stories such as "Hills Like White Elephants" and "The Killers", as well as his later novels like "The Old Man and the Sea". In "Hills Like White Elephants", for example, the true nature of the characters' conversation - which is about the possibility of getting an abortion - is never explicitly stated. Instead, it is hinted at through their dialogue and actions, leaving the reader to infer what is really going on.

Similarly, in "The Old Man and the Sea", Hemingway tells the story of an aging fisherman's struggle to catch a giant marlin. While the plot is relatively simple, the novel is packed with symbolism and metaphor, much of which is left for the reader to decipher. For example, the marlin itself can be seen as a representation of the human struggle against nature, while the old man's battle with the fish can be interpreted as a metaphor for the struggle of life itself.

Hemingway's Iceberg Theory had a profound impact on the way writers approached their craft. His emphasis on brevity, simplicity, and implication influenced a generation of writers, including Raymond Carver, Cormac McCarthy, and J.D. Salinger. Today, the Iceberg Theory remains a popular approach to storytelling, particularly in the realm of literary fiction.

In conclusion, Ernest Hemingway's Iceberg Theory, or Theory of Omission, is a writing philosophy that emphasizes the power of understatement and implication in storytelling. By leaving much unsaid and allowing the reader to fill in the gaps, Hemingway believed that he could create a more powerful and resonant story. His minimalist approach to writing had a profound impact on the world of literature, and his legacy continues to influence writers today.
 

 

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A Quick Note on Plotting with the Freytag Pyramid in Fiction Writing for the Novice Writer by Ryker J. Phoenix

 

A Quick Note on Plotting with the Freytag Pyramid in  Fiction Writing for the Novice Writer

 

by Ryker J. Phoenix

 

The Freytag Pyramid is a popular tool for plotting and analyzing the structure of a story. Developed by German writer Gustav Freytag in the mid-19th century, the pyramid is a visual representation of the five-act structure commonly used in dramatic storytelling. It consists of five parts: exposition, rising action, climax, falling action, and resolution. In this essay, we will explore how to use the Freytag Pyramid to effectively plot a story.

The first part of the pyramid is the exposition, which introduces the main characters, setting, and the initial conflict or problem to be addressed. (This is also called the introduction or prologue in some storytelling models.) This is where the audience gets a sense of the story's world and the characters involved.

Next comes the rising action, where the bulk of the story takes place. This is where complications and obstacles begin to pile up, causing tension and conflict for the characters. The tension builds as the characters try to overcome these obstacles and reach their goals. There is a sense of rising action and momentum as the story progresses towards its climax.

The climax is the highest point of tension in the story and mark of transition into the final act. It is where the main conflict or problem comes to a head, resulting in a significant change or event in the story. The climax is the moment where many stories will pivot towards a final conclusion. Often, this is where the hero will make their ultimate decision or sacrifice to solve the problem.

After the climax, the story moves into the falling action, where the tension begins to wind down. The conflict is unraveled, and the characters work towards a resolution. This stage can vary depending on the story. In some cases, it is a short denouement that ties up loose ends quickly. In other cases, it might be a longer, more contemplative section, where characters reflect on the events that have occurred and process their feelings.

Finally, the story ends with the resolution, tying up any remaining loose ends and bringing the story to a satisfying conclusion. The resolution should provide a sense of closure and resolution for the characters and the audience. It is the culmination of the work put into building the story and requires satisfying exploration.

Using the Freytag Pyramid, we can see how each of these elements contributes to a well-structured story. The progression of the story is essential to creating an interesting and satisfying experience for the audience. Used wisely, the skilful implementation of these stages can support a meaningful and resonant connection with the story's themes, characters, and overall message.

In Conclusion, the Freytag Pyramid is a popular tool for plotting and analyzing stories as it provides a clear structure to follow, which can be easily understood by both writers and audiences alike. A story that follows the Freytag Pyramid has a strong narrative structure and has the tendency to engage the audience's attention, making it an effective tool for novelists and screenwriters alike. By employing the principles of exposition, rising action, climax, falling action, and resolution, one can create plots that are cohesive and satisfying to readers.

Also see:

• Freytag's Pyramid: Definition, Examples, and Usage

 

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

 

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

 

by Ryker J. Phoenix

 

 Writing a novel is a challenging but rewarding undertaking that requires a great deal of dedication, organization, and discipline. It's not enough to simply have a great idea for a story; you must also be willing to put in the time and effort required to develop that idea into a fully-fledged novel. In this article, we'll explore the key steps involved in writing a novel and provide tips on how to stay focused and motivated throughout the writing process.

The first step in writing a novel is to come up with an idea or story that you're passionate about. This can be something that has been brewing in your mind for years, or it can be a new concept that you've just thought of. Whatever the case, it's important to spend some time brainstorming and developing your idea before you begin writing. Ask yourself questions such as: What is the main conflict in my story? Who are the characters and what motivates them? What themes do I want to explore? Taking the time to answer these questions will help you to create a solid foundation for your novel.

Once you've developed your idea, the next step is to create an outline or plan for your novel. This will help you to stay organized and focused as you write. Your outline should include a general plot summary, a breakdown of key scenes and events, and a list of characters and their motivations. You may also want to include a timeline or schedule that outlines when you plan to complete each chapter or section of your novel.

With your outline in place, it's time to start writing. This is where discipline and dedication come into play. Writing a novel is a marathon, not a sprint, and it's important to set aside time each day to work on your manuscript. This could be an hour in the morning before work, or it could be a few hours in the evening after dinner. Whatever the case, make sure you stick to your schedule and avoid distractions such as social media or television.

As you write, it's important to stay organized and keep track of your progress. This could be as simple as keeping a notebook where you jot down ideas and notes, or it could involve using software such as Scrivener or Evernote to manage your writing process. Whatever tools you use, make sure you stay organized and keep track of important details such as character names and plot points.

Finally, don't be afraid to ask for feedback and revise your work as you go. Writing a novel is a collaborative process, and it's important to get feedback from others to help you see your work from different perspectives. Join a writing group or find a trusted beta reader who can offer constructive criticism and help you to refine your manuscript.

In conclusion, writing a novel requires dedication, organization, and discipline. By following the steps outlined above, you can develop your idea into a fully-fledged novel that you can be proud of. Remember to stay focused, stay organized, and stay motivated, and you'll be well on your way to becoming a successful novelist.
 

Also see:

• How to Start Writing a Book: 9 Steps for Writers

 

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The Edit-As-You-Go Method by Randy Ingermanson | Advanced Fiction Writing

The Edit-As-You-Go Method

 

by Randy Ingermanson 

 

Advanced Fiction Writing

 

Finishing your first draft is an essential milestone on the way to publishing your novel. If you don’t finish that first draft, you probably won’t finish the second, or third, and you probably won’t ever get a polished final draft.

And how do you write your first draft? There’s no one right answer. Different writers are different, and what works for one writer doesn’t work for another. Here are four options that have worked for large numbers of writers:

• Writing by the seat of your pants—you just start typing with no planning.
• Writing to an outline—you create a detailed outline and use it to write your first draft.
• The Snowflake Method—the 10-step method I invented to plan your novel’s plot and characters, starting simple and expanding out the details bit by bit.
• Editing as you go—you type the first scene as if you were writing by the seat of your pants, but then you polish it until it’s perfect before moving on to the next scene. You repeat this until you’re done.

And of course many writers mix and match elements from these methods. The right way for you is the one that works.

I created the Snowflake Method, so naturally I’ve talked about it a lot in this e-zine over the years.

In this article, I’d like to focus on the Edit-As-You-Go approach, because I think it hasn’t gotten as much airtime as it deserves. My understanding is that Dean Koontz uses the Edit-As-You-Go method, and that gives it all the credibility it needs.

Why Edit As You Go?

Why might you decide to give the EAYG method a try?

One very good reason to try it is that you resonate with the idea. If you’ve read the short descriptions of the methods above and EAYG has emotional appeal for you, then your instincts are telling you something. I think it’s always smart to listen to your instincts. They might be wrong, but very often, they’re right.

Another good reason to try EAYG is that you’ve tried the other methods, and none of them have clicked for you. That doesn’t make you a bad writer or a defective human. It just means you tried things that didn’t click for you. That’s all it means. If you try EAYG, it’ll either click for you or it won’t. If it doesn’t click, then you’re no worse off than before. But if it does click, then that’s a win. A big win. There’s just no downside to experimenting.

A third reason to try EAYG is when your story and characters are only partly formed in your mind, and you need a lab for trying out different ideas to get them to gel. The novel I’m currently writing is a historical novel in which history records a number of disconnected events, but we don’t know the exact order of the events, and we don’t know the character motivations. The story is unclear, and my job is to find the story. So I’ve found EAYG useful as a lab. I can write a scene in which I audition characters and plot ideas. If they don’t seem to be right, I can edit them again and again and again, until they ooze into focus. Then I can move on. This is not my preferred way to write, but I’ll do what it takes to find my story.

This is Not Complicated

Unlike outlining or the Snowflake Method, the EAYG approach has very few moving parts. You type a scene. Then you edit it once or many times, until you’re happy with it. Then you repeat until done.

So there’s not a lot to say here. Either you like the idea or you don’t. If you hate it, then move on; life is short. But if you love it, give it a whirl and see if you like it as much in practice as you do in theory.

The acid test of any kind of writing is this question: Are you having fun? This matters, because we novelists spend thousands of hours writing fiction. For most novelists, the writing is not super profitable. So it had better be fun, or what’s the point?

 

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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Epistemic Conflict by Randy Ingermanson | Advanced Fiction Writing

 

Epistemic Conflict

 

by Randy Ingermanson 

 

Advanced Fiction Writing

 

---

Epistemology is a branch of philosophy that tries to explain what it means to know things, and how we know that we know what we know.

If that seems dull or weird or spacey to you, then I refer you to your favorite search engine to run a search on the term “fake news.” Fake news is false information packaged up to look like true news. And that’s a hot topic right now. Fake news is a failure in epistemology.

So I claim that epistemology matters in real life. If so, then it also matters in fiction.

I won’t be looking at fake news in this column. I have bigger fish to fry. Instead, I’ll be looking at something I call “epistemic conflict.” This will take some effort to unpack. Work with me for the next thousand words, and I think you’ll find it worth the trouble. You can use this technique forever in your fiction, and you’ll never run out of ideas.

Why Conflict Matters

Every novelist cares about conflict, because conflict is the gasoline in the engine of fiction. Conflict makes your story go. You need conflict, and one powerful way to create conflict is through a misunderstanding between your characters.

And that’s where “epistemic conflict” comes into play. “Epistemic conflict” is one very basic way to create a deep misunderstanding that will get your characters fighting like rabid dogs.

But before I explain “epistemic conflict,” I need another term, which is “epistemic status.” And what is that?

Epistemic Status

People say stuff all the time. Some of it’s true; some is false; some is neither. But it would be naive to think that all statements can be classified as either a “fact” or a “lie.” Because a lot depends on what people believe about the truth or falsity of the things they say.

So when I talk about the “epistemic status” of a statement, I’m thinking of two questions:

• Does the person who made the statement believe it’s true, or false, or neither?
• How certain are they in that belief?

Both of these matter. These two issues raise all sorts of interesting complications. Here are some examples of the many kinds of epistemic status that a statement can have:

• Facts are things you believe because you have first-hand evidence, and therefore you can know them with high certainty. For example, it’s a fact that the sky was blue outside my house yesterday at noon. I saw the sky. It was blue. The only way this fact could be wrong is if my eyes weren’t functioning correctly.
• Mathematical theorems are things you believe because you can prove them using logic, and therefore you can know them with high certainty. For example, I know the Pythagorean Theorem is true, because I have worked through the proof. The only way this theorem could be wrong is if my brain isn’t functioning correctly.
• Scientific findings summarize the results of experiments. A scientist considers a scientific finding to be provisionally true, based on the current data. A scientific experiment should always estimate the certainty of the result. Note that scientific findings sometimes change when more data comes in.
• Mathematical conjectures are guesses about potentially true theorems. Mathematicians consider them “not proven,” but they often have reason to think they might be true or might be false. Math happens when a mathematician tries to prove or disprove a conjecture. For a famous example of a conjecture, do a search on the term “Goldbach’s conjecture.”
• Scientific hypotheses are guesses about potential scientific findings. Scientists may suspect a hypothesis is true, or suspect it’s false, but they don’t know, and they know that they don’t know. As a very famous example, when I was a graduate student in physics, the Higgs boson was widely hypothesized to explain major parts of physics. But nobody had ever seen one in the lab. The Higgs boson was a hypothesis for 48 years, until it finally was detected in the lab. Then it became a scientific finding.
• Faith statements are statements that people of faith make about their religious beliefs, even when they know that no proof is possible. Generally, they don’t assign a level of certainty, because faith is not about certainty. As an example, one of the Thirteen Principles of Maimonides, the great Jewish philosopher, was, “I believe with perfect faith in the resurrection of the dead.” Believing this is an act of faith, not a claim of certainty. If anyone knew it with certainty, it would not be a faith statement, it would be a fact or a theorem.
• Opinions are things you believe to be more likely true than not. In some cases, the opinion holder may be very certain their opinion is correct, but the reality is that the correctness of opinions usually can’t be known with high certainty.
• Allegations are claims that somebody has made without providing evidence to back them up. Allegations are an interesting case because the person making the allegation usually claims a high level of certainty. But the person hearing the allegation can’t have that same level of certainty until they see the evidence. One thing they can know with high certainty is that the allegation was made. That makes allegations newsworthy, even when they can't be checked. Responsible journalists make it clear that they are allegations, NOT facts. They also look for ways to check them.
• Lies are statements that you don’t believe and you know to be false. The point of a lie is to convince other people that a false statement is true. Fake news is an example of a lie.
• April Fool’s jokes are a special case. They’re not the truth, but they’re also not a lie. When you tell an April Fool’s joke, you believe with certainty it’s false, but truth or falsehood is not the point. The point of an April Fool’s joke is to say something obviously false in a way that’s funny because it’s absurd.
• Satire is another special case. Satire is not intended to be either the truth or a lie. It’s intended to make people think by saying something you don’t believe in a way that highlights some important truth. A famous example is the essay, “A Modest Proposal,” by Jonathan Swift, published in 1729. Swift proposed that poor Irish families could sell their children to be eaten by the rich. This was not a real policy proposal, and probably few people ever thought it was. But it was not a lie, either, nor was it a joke. It was satire, and it made people think about their assumptions.

That’s not a complete list of all possible epistemic statuses. You can probably think of several more. But these are enough to now explain what “epistemic conflict” is.

The Payoff—Epistemic Conflict

So what do I mean by “epistemic conflict?”

“Epistemic conflict” is the special kind of conflict that happens between characters when they assign different epistemic statuses to a statement.

In the real-life case of a “fake news” story, some people claim that the story has the epistemic status of a “Fact,” while others claim that it has the epistemic status of a “Lie.”

But there are many ways to have epistemic conflict. Let’s look at a few possible examples that could arise in your fiction:

Example 1: Your character writes an April Fool’s Day blog post that they think is hilariously funny. But then they discover that hundreds or thousands of people mistook it for a fact, and now there’s trouble.

Example 2: Your character posts a tweet that is intended to be satire. But satire requires context, and people who don’t know the context think your character’s tweet sounds racist. It goes viral and now millions of people are angry at your character, because they mistook satire for an actual opinion.

Example 3: Two characters express conflicting political opinions, but each of them mistakes their own opinions as facts, and mistakes the other’s opinion as a lie.

Example 4: Two scientists publish their scientific findings, but they get opposite results. The scientists know that all scientific knowledge is provisional, and they see the conflict in their findings as something interesting to pursue. But a journalist mistakes these findings as facts, and writes a story claiming there is a “crisis” in the scientists’ field of study.

Homework:

• Here’s a challenge for you. Spend one whole day figuring out the epistemic status of everything you say or hear. You’ll probably have to define some new epistemic statuses, because the list of 11 that I gave isn’t the whole alligator. I suspect you’ll find this exercise exhausting but enlightening. At the end of the day, your reward is that you get to think about how to use all this in your fiction.

 

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 Five Tools for Showing by Randy Ingermanson | Advanced Fiction Writing

The Five Tools for Showing

 

by Randy Ingermanson 

 

Advanced Fiction Writing

 

Your job as a novelist is very simple: to create a movie inside your reader’s head.

Not a picture. Not a sound bite. Not a word salad.

A movie. Inside your reader’s head.

Do that, and you win.

When editors tell you to “show, don’t tell,” what they really mean is to create that movie in your reader’s head.

You have five tools for showing that movie. That’s all. Just five. Master those five tools, and you’re far along the road to novelist nirvana. Here they are:

• Action
• Dialogue
• Interior Monologue
• Interior Emotion
• Sensory Description

Action

Action is a person or an animal or a robot or an angel or any other sentient being doing something. Some examples:

• Hermione jumped on her broomstick and raced after Malfoy.
• Michael Corleone pointed his gun at the head of the police captain and squeezed the trigger.
• C3PO pressed its fingers into the wall socket, tripping the circuit breaker and plunging the room into darkness.

Dialogue

Dialogue is a person or an animal or a robot or an angel or any other sentient being saying something. Some examples:

• “You are the last man I could ever be prevailed upon to marry,” said Elizabeth Bennet.
• “Hasta la vista, baby,” said the Terminator.
• “These are not the droids you’re looking for,” said Obi-wan Kenobi.

Interior Monologue

Interior monologue is a person or an animal or a robot or an angel or any other sentient being thinking something. Some examples:

• I’ve got to catch that bottle of nitro before it hits the floor.
• Bad news. He loves me and he loves me not.
• It’s not enough to win this fight just for today. I need to win the fight for all time.

Interior Emotion

Interior emotion is a person or an animal or a robot or an angel or any other sentient being feeling emotion.

This is more complicated than the other tools, so we need to clarify a few points before giving an example. You don’t need to name the emotion. If you name the emotion, you aren’t showing it, you’re telling it. If you want to show the emotion, you show the character’s physiological response to the emotion, and the reader figures out the emotion and may well feel it right along with the characters.

Note that physiological responses are ambiguous. They are usually not enough to pin down the exact emotion. The reader also needs context. But once you’ve given them the right context, showing them the character’s physiological response will make them feel the emotion.

I’ll give just one example. You can easily imagine different contexts in which this physiological response might signal anger, fear, horror, or possibly other emotions:

• Luke’s face burned, but the inside of his stomach was icy cold.

Sensory Description

Sensory description is showing the environment in a way that appeals to the senses. Some examples:

• The dorm room smelled of peanut butter and dirty socks.
• Neon lights flashed red and blue and green.
• Thunder smashed outside the house. Rain pounded on the roof.

Mix and Match

You have five tools for showing your reader your story. You can mix and match them any way you like. Any paragraph you write can use any combination of these five tools. That gives you endless variety for showing your story.

There are other tools for telling your story—narrative summary and exposition are the most common. You may be asking if it’s okay to use these tools.

Of course it is! These can be powerful tools, used in the right way, at the right time in your story. It’s not possible to spend 100% of your story showing, with no telling at all. Telling gets your reader quickly and efficiently through the boring parts of the story. Showing takes your reader slowly and immersively through the exciting parts of the story.

As a novelist, you get to decide what percentage of your story to show and what percentage to tell. A modern high-octane thriller might spend 98% of the story in showing and only 2% in telling. A slower-paced, more reflective novel might spend only 60% showing and 40% telling.

Just don’t fool yourself. If you intended to show your reader mostly movie, but you wound up breaking into the movie in every paragraph to tell your reader interesting footnotes, then you didn’t do what you intended. You should at least know you’re doing that.

Homework

Look at the most recent scene you wrote for your novel. Highlight every word in the scene that is not action, dialogue, interior monologue, interior emotion, or sensory description. The parts that are not highlighted are the movie you’re creating in your reader’s head. The parts that are highlighted are the interruptions to the movie. Are you surprised how many interruptions you’ve got in your movie? Or is the proportion about right?

 

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