Mastering the Art of Description is Vital for Any Writer Seeking Success by Olivia Salter

 

Writing Quote:  If you want to be a successful writer, you must be able to describe it in a way that will cause your reader to prickle with recognition.

 

Stephen King, master of horror and bestselling author, once said, "We’ve all heard someone say, ‘Man, it was so great (or so horrible/strange/funny)… I just can’t describe it!’ If you want to be a successful writer, you must be able to describe it in a way that will cause your reader to prickle with recognition." These words encapsulate a fundamental truth about the art of writing. To effectively captivate readers, a writer must possess the ability to vividly express experiences and emotions, creating a powerful connection between the words on the page and the hearts and minds of those who read them.

The act of describing something is more than just providing a laundry list of details. It is an art form that challenges writers to transform abstract concepts, complex emotions, and unique experiences into tangible words that resonate with readers. As Stephen King suggests, it is not enough to simply say, "I can't describe it." Instead, successful writers must strive to find the words that elicit a sense of familiarity and a spark of recognition within their audience.

When we encounter a well-crafted description in literature, it has the power to transport us to different worlds, evoke strong emotions, and make us feel a part of something greater. It is through the careful use of language that writers can bring readers into the heart of their stories, allowing them to experience the joys, fears, and curiosities that the characters endure.

To achieve this, writers must first possess a keen sense of observation. They must be attuned to the vivid details of the world around them, cultivating an awareness of the sights, sounds, smells, tastes, and textures that make an experience unique. By honing their powers of observation, writers are able to create descriptions that go beyond the surface level, delving into the depths of sensory experience.

However, mere observation is not enough. Writers must also possess the skill to translate those observations into language that resonates. They must choose their words carefully, employing vivid imagery, evocative metaphors, and precise language to create a tapestry of words that captures the essence of what they seek to describe.

Moreover, successful writing goes beyond mere description; it is about tapping into the shared human experience. By digging deep into our collective consciousness, writers can capture the universal emotions and experiences that readers can relate to on a fundamental level. Whether it's the overwhelming joy of falling in love, the gut-wrenching pain of loss, or the inexplicable beauty of a sunset, successful writers have the ability to express these feelings in a way that enables readers to connect with them intimately.

When readers encounter such descriptions, they not only recognize the experiences being conveyed but also feel an emotional resonance that lingers within them. It is through this connection that literature transforms from a mere sequence of words into a catalyst for reflection, empathy, and understanding.

Stephen King's quote reminds aspiring writers of the importance of honing their descriptive abilities. It urges them to delve beyond the surface, explore the world with a keen eye, and find the words that will bring their stories to life. Through compelling descriptions, writers have the power to make their readers prickle with recognition, to unlock the doors of imagination, and to leave an indelible mark on the hearts and minds of those who venture into their narratives.

In conclusion, mastering the art of description is vital for any writer seeking success. Stephen King's wisdom serves as a reminder that a well-crafted description can evoke emotions and resonate with readers on a deep level. By observing and translating their observations into vivid and relatable language, writers can create an immersive experience that captures the essence of the human condition. So, if you aspire to be a successful writer, remember the power of description and strive to make your readers prickle with recognition.

 

About the Author

Stephen Edwin King (born September 21, 1947) is an American author of horror, supernatural fiction, suspense, crime, science-fiction, and fantasy novels. Described as the "King of Horror", a play on his surname and a reference to his high standing in pop culture, his books have sold more than 350 million copies, and many have been adapted into films, television series, miniseries, and comic books. King has published 64 novels, including seven under the pen name Richard Bachman, and five non-fiction books. He has also written approximately 200 short stories, most of which have been published in book collections. Wikipedia

Stephen King Books at Amazon

The Mask of Fiction: Unveiling the Soul and Spirit by Olivia Salter

 

The Mask of Fiction: Unveiling the Soul and Spirit

 

by Olivia Salter

The art of fiction writing is a multifaceted craft that transcends mere storytelling. It is a profound and intricate endeavor that seeks to illuminate the depths of human experience, revealing the nuances of our existence through the artful manipulation of words and imagination. At its core, fiction is a delicate dance between truth and deception, where the writer, donning the mask of fiction, endeavors to encapsulate the essence of humanity within the confines of fabricated narratives.

The fiction writer's pursuit is not one of mere fabrication but rather a poignant exploration of the human condition. Through the intricate tapestry of characters, settings, and plotlines, the writer seeks to expose the raw and unfiltered truths that define our shared humanity. It is within the realm of fiction that the complexities of our existence are laid bare, inviting readers to immerse themselves in worlds both familiar and foreign and to glean profound insights into the human spirit.

Central to the art of fiction writing is the delicate balance between truth and falsehood. Every writer of fiction must, in essence, be a masterful liar, weaving tales that are, at their core, untruths crafted to resonate with the deepest recesses of the human soul. This paradoxical role of the writer as both a purveyor of falsehoods and a revealer of truths is encapsulated by the notion that the aim of the liar is, in fact, a noble one.

The mask of fiction serves as a vehicle through which writers navigate the boundless landscapes of imagination and creativity, transcending the constraints of reality to unearth profound insights into the human experience. By wielding the tools of deception and artifice, writers harness the power of storytelling to convey universal truths, provoke introspection, and evoke empathy within their readers.

Furthermore, the mask of fiction affords writers the liberty to delve into the depths of human emotion and experience, unfettered by the boundaries of literal truth. Through the creation of intricate narratives and multifaceted characters, writers possess the ability to evoke empathy, challenge perceptions, and foster a deeper understanding of the human condition. It is through this artful manipulation of reality that the inherent truths of our existence are exhumed, allowing readers to bear witness to the kaleidoscope of human emotions, aspirations, and tribulations.

In essence, the mask of fiction serves as a vessel through which writers embark on a profound journey of revelation and introspection. By embracing the art of fabrication with a noble aim, writers illuminate the multifaceted complexities of our existence, inviting readers to traverse the intricate landscapes of the human soul.

Ultimately, the mask of fiction stands as a testament to the enduring power of storytelling, transcending the boundaries of reality to unveil the profound truths that define our shared humanity. It is within the realm of fiction that the art of deception intertwines with the pursuit of enlightenment, laying bare the intricacies of our existence and inviting readers to partake in the timeless dance between truth and imagination.

 

Also see:

👉Creating Fiction: Instructions and Insights from Teachers of the Associated Writing Programs at Amazon

👉Free Writing Resources
👉Fiction Writing books at Amazon

 

Writing Quote: You Must Not Come Lightly to the Blank Page by Stephen King #WritingCommunity #WritingQuotes #StephenKing

 

Writing Quote: You Must Not Come Lightly to the Blank Page

 

You can approach the act of writing with nervousness, excitement, hopefulness, or even despair — the sense that you can never completely put on the page what’s in your mind and heart. You can come to the act with your firsts clenched and your eyes narrowed, ready to kick ass and take down names. You can come to it because you want a girl to marry you or because you want to change the world. Come to it any way but lightly. Let me say it again: you must not come lightly to the blank page.

 

--Stephen King

About the Author

Stephen Edwin King (born September 21, 1947) is an American author of horror, supernatural fiction, suspense, crime, science-fiction, and fantasy novels. Described as the "King of Horror", a play on his surname and a reference to his high standing in pop culture, his books have sold more than 350 million copies, and many have been adapted into films, television series, miniseries, and comic books. King has published 64 novels, including seven under the pen name Richard Bachman, and five non-fiction books. He has also written approximately 200 short stories, most of which have been published in book collections. Wikipedia

Stephen King Books at Amazon

 

 See more writing quotes here.

 

Writing Tip Of The Day: Keep an eye out for overly cute or witty turns of phrase.

 

Keep an eye out for overly cute or witty turns of phrase.

Many good writers go through a stage of using overwrought purple prose as they develop their own signature writing style. Fine writing is concise, and experienced writers aren’t afraid to cut a phrase or sentence that might sound pretty but in reality, is an extraneous ornament that doesn’t serve the overall piece.

Also see:

👉Free Writing Resources
👉Fiction Writing books at Amazon

Writing Craft: Just in Time Backstory by Randy Ingermanson ( Advanced Fiction Writing)

Writing Craft: Just in Time Backstory

 

 by Randy Ingermanson

Advanced Fiction Writing 

 

 

When you create your characters, you often do a lot of work to figure out their backstory—everything that happened to them before the story began.

The temptation is to tell the reader all that backstory as soon as you can. Because it’s super interesting to you, it’s easy to assume that it’s super interesting to your reader.

The problem is that your reader wants to get into the main story first, to get emotionally connected to your characters. Until your reader cares about the main story, he or she doesn’t care about your backstory. Backstory is incredibly important, but it’s like salt in the soup. A little goes a long way.

So how do you handle that? How much backstory should you tell? When should you tell it? What do you do with the backstory you never tell your reader?

To squeeze it all down to one critical question: How do you know how much backstory to write into the scene you’re working on right now?

My Rule of Thumb for Backstory

My working rule of thumb is to introduce backstory “just in time.” Meaning that when you’re writing a scene where the backstory plays a crucial role, you tell the reader whatever bit of backstory you need right when you need it. Just that and no more.

This is a rule of thumb, not an ironclad rule. Of course you’ll sometimes need to introduce backstory before you need it. But if you don’t need to, then don’t.

The reason for telling backstory just in time is that backstory tends to slow down your story. It’s a good idea to not slow it down any more than you have to.

An Example of Just in Time Backstory

A month or two ago, I read the novel The President is Missing, by James Patterson and Bill Clinton. I thought it would give me an inside look into the job of being President, and I was right. My working assumption here is that Patterson did all or most of the writing and Clinton provided the background info, which seems the most likely way they split out the duties of coauthoring situation. So in my analysis below, I’ll refer to Patterson as the writer, even though of course Clinton is a coauthor.

The protagonist of the book is President Jonathan Duncan. Cyberterrorists have targeted the US with a lethal computer virus that could bring the country to its knees. The President and eight of his closest advisors know the virus exists, and they’re desperate to prevent a catastrophe. The President also knows that one of the eight is a traitor, which makes his job even harder. He’s got to save the country and unmask the traitor, and he has two days. Congressional leaders aren’t in on the secret, so all they know is that the President is acting very weird and could possibly be committing treason.

I read the book a couple of times. The first to enjoy the story. The second to take it apart and see how it works. James Patterson is a wily author who uses every trick in the book to weave unexpected twists into his stories. I wanted to study his set of tricks.

On my second read through the book, I took note of Patterson’s careful handling of backstory. Very often, he brought it into a scene exactly when he needed it.

A nice example is the opening chapter, which begins with this bit of dialogue: “The House Select Committee will come to order …”

This is a very tricky scene to get right. The author has to introduce the protagonist, President Duncan, make it clear that he is genuinely the good guy in this story, and introduce the predatory congress-critters who are out to get the President. All from a cold start in which the reader knows nothing about the President, his congressional opposition, or the cyberthreat facing the country.

This scene could very easily be a boring encyclopedia article on how a congressional investigation goes. But it isn’t. It’s a reasonably fast-paced scene that puts our hero in danger immediately, without confusing the reader. How does Patterson make this scene work?

He does it by mixing in action, dialogue, and carefully measured-out bits of backstory.

The first paragraph is the snip of dialogue I already quoted above.

Then comes a paragraph of interior monologue about the sharks on the House Select Committee and the President’s fears in dealing with them.

Then three quick paragraphs of backstory, direct quotes from the previous night, when the President’s chief of staff urged him not to testify. This counts as backstory, but it’s told as dialogue—essentially a mini-flashback.

Then there’s a paragraph showing us what the President sees, thirteen angry congressmen. The paragraph zooms in on the nameplate of the chairman, Lester Rhodes.

Then there’s a paragraph of backstory about Rhodes, explaining why he’s so dangerous to the President. This is told as interior monologue, so it’s in the President’s voice, and it’s told in a way that makes you empathize with the President. You don’t have to be told the President is the good guy of this story, because you feel it.

Then there’s another paragraph of action. The President adjusts his mike so he won’t have to lean forward. He’s paying attention to his body language, doing everything he can to avoid looking weak. This is the sort of thing that real presidents have to think about.

Next is a paragraph of interior monologue. The President is prepping to be grilled.

The scene continues like that for the rest of the chapter. There’s a bit of action/dialogue/interior monologue. Then there’s a bit of backstory to explain what the heck is happening.

This could easily go wrong, and there are two ways to fail:

• Show too much action and dialogue, without enough backstory to understand what’s happening. This fails by confusing the reader.
• Tell too much backstory, without enough action and dialogue to keep the story moving. This fails by boring the reader.

There’s a fine line you have to walk in this kind of scene. I’ve read the scene several times, and my judgment is that Patterson nailed it. The scene is quite long, but it’s compelling and reasonably clear at all points. And it ends with a cliffhanger that forces you to turn the page.

In such a complex first scene, I don’t see any way to do it better.

Breaking the Rule of Thumb

For most of the story, Patterson follows our rule of thumb very closely. He introduces backstory just in time. But there are certain points at which he doesn’t. There are a few places where he gives you a bit of backstory for no obvious reason.

But there is a reason. If you read the book, be watching for those apparently unnecessary bits of backstory. Some of them are clues that will turn into major surprises a hundred pages down the road. Or two hundred pages.

Not all of them are clues. But some of them are. A good author seeds in clues far in advance of the surprise. Then the reader doesn’t feel cheated when he realizes he’s been misled. Because the clues were there.

A big part of the art of writing major plot twists is seeding in clues to plot twists a long time in advance, often using what appears to be innocent backstory.

I’m not in the business of spoiling other authors’ plot twists, so I won’t give examples of just how Patterson worked his magic with his plot twists. But study how Patterson hides his clues in the backstory, doing his best to make you slap your head when you reach the twist and say, “Dang! I should have seen that coming!”

And if you’re observant, you will see it coming and you can bask in the glow of your own cleverness—until you hit the next twist that you didn’t foresee.

Enjoy the Ride

You may or may not buy into the idea that a supervirus can infect machines running a wide variety of operating systems—Mac OS, Windows, Linux, and numerous other flavors of Unix. But whether you do or not, you can enjoy the story and learn from the master. This is a political thriller, not a technothriller.

Have fun!

---

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

 

Writing Quote: Creativity Has Its Seasons by Olivia Salter

Writing Quote: Creativity Has Its Seasons

 

by Olivia Salter

 

Creativity is a fluid and ever-evolving process. It ebbs and flows like the changing seasons, requiring time, patience, and perseverance. In the quote by Haley Jakobson, she beautifully captures the essence of this creative journey, urging writers to embrace the natural rhythms of their artistic expression.

"Creativity has its seasons. Let your writing bake, marinate, hibernate." These powerful words remind us that creativity cannot be rushed or forced. Just like a chef allows their dish to bake to perfection or a marinade to infuse flavors, writers must give their ideas the time and space they need to develop and flourish. In the moments when inspiration seems elusive, it is important to trust the creative process and allow ideas to simmer and mature.

The quote also highlights the notion that writing extends beyond the physical act of putting words on paper. "You're writing stories all the time, even if they're not on paper." Writing is a continuous process that happens within our minds, hearts, and everyday experiences. Whether it's observing the world around us, engaging in conversations, or delving into our own emotions, every moment contributes to the tapestry of our storytelling. Acknowledging this broader definition of writing allows us to embrace the limitless possibilities for creativity in our lives.

"Life is long and art is never linear—give yourself time." This simple yet profound statement encourages writers to embrace the non-linear nature of their artistic journey. Writing is not a straightforward path from point A to point B. It is a winding road filled with twists and turns, highs and lows, breakthroughs and setbacks. Understanding that creativity doesn't adhere to a linear trajectory helps us relinquish the pressure of achieving instant success. Instead, it invites us to grant ourselves the gift of time for exploration, growth, and self-discovery.

Giving ourselves time means allowing for introspection, inspiration, and the gestation of ideas. It means being patient with ourselves and embracing the evolution of our work. It also means understanding that creativity is not singular but multifaceted and that our creative seasons may vary. There will be moments of intense productivity and periods of quiet contemplation. Both are equally important and necessary for the creative process.

Ultimately, Haley Jakobson's quote reminds us that creativity is a journey that flows through various seasons. It invites us to relinquish the need for instant gratification and embrace the magic of patience, perseverance, and growth. So, let your writing bake, marinate, and hibernate. Allow your ideas to unfold naturally, both on paper and in the world around you. Embrace the non-linearity of your artistic path, trusting that each season offers its own unique gifts. Remember, life is long, and your creativity has endless possibilities.

 

Also see: 

• Haley Jakobson at Amazon

Writing Quote: Creativity Has Its Seasons by Haley Jakobson

 

Creativity has its seasons. Let your writing bake, marinate, hibernate. You’re writing stories all the time, even if they’re not on paper. Life is long and art is never linear—give yourself time.

 

-- Haley Jakobson

 

Also see: 

• Haley Jakobson at Amazon