The Impostor Syndrome: Unmasking the Dread of the Fiction Writer

The Impostor Syndrome: Unmasking the Dread of the Fiction Writer

By Olivia Salter

In the realm of fiction writing, the journey from an aspiring author to a recognized voice is often fraught with self-doubt and insecurity. One of the most pervasive psychological challenges that writers face is the impostor syndrome, a phenomenon where individuals doubt their accomplishments and fear being exposed as a "fraud." For fiction writers, this can be particularly crippling, as the art of storytelling demands both vulnerability and confidence.

Understanding Impostor Syndrome

Impostor syndrome is characterized by persistent feelings of self-doubt, inadequacy, and a fear of being outed as a pretender. For many writers, these feelings can manifest in various ways: constant comparison to other authors, second-guessing their creative choices, or feeling that their success is merely a result of luck rather than talent. This internal struggle can lead to creative paralysis, where the writer hesitates to share their work or pursue opportunities that could advance their careers.

The Creative Process and Self-Doubt

The creative process is inherently subjective. What resonates with one reader may not resonate with another, and this unpredictability can amplify feelings of inadequacy. Writers often pour their hearts into their stories, making them vulnerable to criticism. When a manuscript is rejected or a critique stings, it can feel like a personal attack, reinforcing the belief that one does not belong in the literary world.

Moreover, the rise of social media has intensified these feelings. Writers are bombarded with success stories and polished images of fellow authors, leading to a skewed perception of what success looks like. The comparison game can be detrimental, as it distracts from the unique voice and vision each writer possesses.

Combatting the Impostor Syndrome

While the impostor syndrome can be overwhelming, it is possible to combat these feelings and reclaim confidence in one’s writing. Here are some strategies:

1. Acknowledge Your Feelings: Recognizing that impostor syndrome is a common experience among writers can help normalize these feelings. Many successful authors, from J.K. Rowling to Neil Gaiman, have openly discussed their struggles with self-doubt.

2. Celebrate Small Wins: Instead of focusing solely on monumental achievements, celebrate the smaller milestones in your writing journey. Completing a chapter, submitting a story, or receiving positive feedback can all serve as reminders of your progress.

3. Seek Support: Joining a writing group or connecting with fellow writers can provide a nurturing environment to share experiences and offer encouragement. These communities can serve as a reminder that you are not alone in your struggles.

4. Focus on the Process: Shift your attention from the end product to the joy of writing itself. Embrace the creative process, allowing yourself to experiment and explore without the pressure of perfection.

5. Keep a Journal: Documenting thoughts and feelings can help you process self-doubt. Reflecting on past successes and positive feedback can serve as a powerful antidote to impostor syndrome.

In conclusion, the impostor syndrome is a formidable foe in the landscape of fiction writing, but it is not insurmountable. By acknowledging these feelings and adopting strategies to combat them, writers can reclaim their narratives and embrace their unique voices. Remember, every storyteller has a story worth telling, and your perspective is invaluable in the tapestry of literature. Embrace your identity as a writer, and let your imagination soar free of the burdens of doubt.

Crafting Chills: A Guide to Writing a Short Horror Story

Crafting Chills: A Guide to Writing a Short Horror Story

By Olivia Salter

Writing a short horror story can be a thrilling and rewarding experience. It allows you to explore the depths of fear and suspense in a compact format. Here’s a step-by-step guide to help you craft a spine-chilling tale that will keep your readers on the edge of their seats.

1. Start with a Fear Factor

Every great horror story begins with a core fear. This could be anything from a fear of the dark, to more abstract fears like losing one’s mind. Identify what scares you the most and use it as the foundation of your story. Personal fears often translate into the most compelling and relatable horror.

2. Choose Your Subgenre

Horror is a diverse genre with many subgenres, such as psychological horror, supernatural horror, and slasher horror. Decide which subgenre best fits your story idea. This will help you set the tone and direction of your narrative.

3. Develop Your Characters

Create characters that your readers can connect with. The more they care about the characters, the more impactful the horror will be. Give your protagonist strengths and weaknesses, and ensure they have a personal stake in the story’s outcome.

4. Set the Scene

A well-crafted setting can enhance the horror atmosphere. Whether it’s a haunted house, a desolate forest, or an abandoned asylum, describe your setting in vivid detail. Use sensory details to immerse your readers in the environment and build tension.

5. Build Suspense

Suspense is key to a successful horror story. Use pacing to your advantage by gradually increasing the tension. Drop subtle hints and foreshadowing to keep your readers guessing. The anticipation of what’s to come can be more terrifying than the actual event.

6. Create a Compelling Plot

Your plot should have a clear beginning, middle, and end. Start with an intriguing hook that draws readers in. Develop a series of escalating events that lead to a climax where the protagonist confronts their fear. Finally, provide a resolution that leaves a lasting impression, whether it’s a twist ending or a haunting conclusion.

7. Use Point of View Effectively

The point of view can greatly influence the horror experience. First-person narratives can create a sense of immediacy and intimacy, making the fear more personal. Third-person limited can also be effective, allowing you to reveal only what the protagonist knows and sees.

8. Incorporate Plot Twists

A well-placed plot twist can elevate your horror story. It can be a shocking revelation about a character, an unexpected turn of events, or a hidden truth about the setting. Ensure your twist is believable and enhances the overall narrative.

9. Write a Gripping Opening

Your opening paragraph should grab the reader’s attention immediately. Start with a scene that sets the tone and introduces the central conflict. Avoid lengthy exposition and dive straight into the action or suspense.

10. Craft a Memorable Ending

The ending of your horror story should leave a lasting impact. Whether it’s a twist that changes everything or a chilling final image, make sure it resonates with your readers. A strong ending can make your story unforgettable.

11. Edit and Revise

Once you’ve completed your first draft, take the time to edit and revise. Look for areas where you can tighten the suspense, enhance the atmosphere, and deepen the character development. Consider getting feedback from others to refine your story further.

12. Embrace Your Imagination

Finally, don’t be afraid to let your imagination run wild. Horror is a genre that thrives on creativity and originality. Experiment with different ideas and approaches until you find what works best for your story.

By following these steps, you can craft a short horror story that captivates and terrifies your readers. Remember, the key to great horror is not just in the scares, but in the emotional journey you take your readers on. 

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Mastering the Craft: Enhancing Your Writing for Readers, Yourself, and Future Challenges

Mastering the Craft: Enhancing Your Writing for Readers, Yourself, and Future Challenges

By Olivia Salter

Writing is an art, but it’s also a craft that can be honed and perfected. The journey of a writer is filled with both triumphs and setbacks, and mastering the craft of writing is essential for navigating these ups and downs. This article explores how to make your writing better for the reader, easier for you to produce, and resilient enough to withstand future failures and successes.

Making Your Writing Better for the Reader

1. Know Your Audience: Understanding who you are writing for is crucial. Tailor your language, tone, and content to meet the expectations and interests of your readers. This connection fosters engagement and keeps readers coming back for more.

2. Clarity and Conciseness: Readers appreciate writing that is clear and to the point. Avoid unnecessary jargon and complex sentences. Aim for simplicity without sacrificing depth.

3. Show, Don’t Tell: Engage your readers by showing them the story through vivid descriptions and actions rather than just telling them what happens. This technique makes your writing more immersive and compelling.

4. Strong Beginnings and Endings: Hook your readers from the start with a captivating opening and leave them with a memorable conclusion. The beginning sets the tone, and the ending leaves a lasting impression.

Making Writing Easier for You

1. Establish a Routine: Consistency is key. Set aside dedicated time for writing each day. This habit helps you stay disciplined and makes writing a natural part of your daily routine.

2. Break It Down: Large projects can be overwhelming. Break your writing into manageable chunks. Focus on one section or chapter at a time to maintain momentum and avoid burnout.

3. Use Tools and Resources: Leverage writing tools and resources such as grammar checkers, writing software, and online communities. These can help streamline your process and provide valuable feedback.

4. Embrace the First Draft: Don’t aim for perfection on the first go. Allow yourself to write freely and make mistakes. The first draft is just the beginning; revisions and edits will refine your work.

Surviving Future Failures and Successes

1. Develop a Thick Skin: Rejection and criticism are part of the writing journey. Learn to take feedback constructively and use it to improve your craft. Remember, every writer faces setbacks.

2. Celebrate Small Wins: Acknowledge and celebrate your achievements, no matter how small. This positive reinforcement keeps you motivated and reminds you of your progress.

3. Stay Adaptable: The writing industry is constantly evolving. Stay open to new trends, technologies, and methods. Adaptability ensures you remain relevant and resilient in the face of change.

4. Build a Support Network: Surround yourself with fellow writers, mentors, and supportive friends and family. A strong support network provides encouragement, advice, and a sense of community.

In conclusion, mastering the craft of writing is a continuous journey that involves making your work better for the reader, easier for you to produce, and resilient enough to endure future challenges. By focusing on these aspects, you can enhance your writing, enjoy the process, and navigate the inevitable ups and downs of a writer’s life. Keep writing, keep learning, and remember that every word you write brings you one step closer to mastering your craft.

Creating: A Failure To Communicate | Advanced Fiction Writing

Creating: A Failure To Communicate

by Randy Ingermanson

Advanced Fiction Writing

There's a famous line in the movie COOL HAND LUKE:

"What we've got here is failure to communicate." The line comes twice, once said seriously by the evil prison warden and once said mockingly by the title character, Luke.

Failures to communicate are pretty common in real life, and in many cases, they're caused by different personality types. In last month's column, I talked about the Myers-Briggs scheme of classifying personalities into 16 different types.

This month, I'll look at a somewhat simpler scheme developed by D. Glenn Foster, who started his career as a polygraph examiner. What Foster discovered was that his own observations of his subjects told him a lot more about their guilt or innocence than his lie-detector machines could.

Foster's original idea was that there is no one best way to interrogate somebody. Methods that work on one personality type won't work on another. So if you want to get a confession, your first task is to "read" your prisoner's personality type. Then you use the appropriate methods to get your confession. Of course, if the prisoner isn't actually guilty, you'll discover that soon enough.

Eventually, Foster became an "interview consultant" who taught methods of interrogation to law enforcement agencies to help them get confessions from prisoners. I recently read his book, "HOW CAN I GET THROUGH TO YOU?" -- coauthored with Mary Marshall -- on the subject of interpersonal communication.

You might think that Foster's methods are only useful to novelists writing police procedural mysteries. Nope. An interrogation is only one of many ways that people communicate -- or fail to. The book by Foster and Marshall is actually aimed at anyone having communication failures. Whether you're not communicating with a friend or a family member, a co-worker or a Congress-critter, this book shows you how to read people and analyze what's gumming up the communication lines.

Foster categorizes people into four basic types:

• Feeler
• Driver
• Analyzer
• Elitist

Let's look at each of these in turn:

• A FEELER likes to get along with people. Feelers put other people's feelings first. A Feeler wants to get along with you and will try to accommodate you, if possible. Feelers are people persons. If you run a business, you want your receptionist and your PR director to be Feelers.
• A DRIVER likes to get things done. Drivers don't much worry about hurting somebody else's feelings, so long as they hit their task objectives. A Driver likes to argue and doesn't get a bit offended if you argue back. In fact, a Driver likes that and respects you if you push back. If you run a business, you want the sales-droids who make cold calls to be Drivers, because they don't take no for an answer.
• An ANALYZER likes to figure things out. Analyzers don't have any need to "share their feelings" with others. They'd much rather share their thoughts. Analyzers don't mind a spirited discussion, so long as it's about ideas and doesn't get personal. Analyzers dislike "ad hominem" arguments and will walk away when the heat turns on. If you run a business, you want your business strategist and your engineers to be Analyzers.
• An ELITIST is a one-of-a-kind person. The Elitist marches to his own drummer. There's a bit of the Feeler, the Driver, and the Analyzer in the Elitist. The Elitist rarely gets close to anyone, because there just isn't anybody like him. If you run a business and you need a visionary who thinks differently, then an Elitist might be what you need.

When two people are talking, they tend to treat the other person the way they expect to be treated. This works fine, if they're both the same personality type, because they have a common idea of how to communicate.

A Feeler talking with a Feeler will get along fine, because they both want the other person to feel good about the exchange. Each will bend over backwards to accommodate the other. No hard words and at the end, everybody's happy.

A Driver talking with a Driver will also do great. They'll likely get into a spirited argument, each giving no quarter, hacking away at each other until one of them wins or they reach a happy stalement. Plenty of hard words, but no hard feelings, because shouting is just part of the game, and at the end of the game, everybody knows who won.

An Analyzer talking with an Analyzer will have a terrific time. They'll get into a deep discussion about ideas. It may or not be an argument, but even if there's a strong difference of opinion, each will take care to attack the other's ideas, not his person. No hard words, no hard feelings, and at the end, one or both of them may have changed his mind, but both will feel like they learned something.

An Elitist talking with an Elitist rarely happens, because there just aren't that many Elitists. Each will recognize that the other is someone special and rare, because all Elitists are special and rare, but always in different ways. Elitists most likely won't share their feelings, not even with another Elitist. If necessary, they may argue like a Driver or reason like an Analyzer, but at the end of the game, they're really above all that.

When members of two different groups talk, it's a different story. Each will treat the other the way they want to be treated. But neither will be treated the way they want. Let's look at what can go wrong. We'll be brief here, because we have six different kinds of pairs:

When a Feeler talks with a Driver, she may very well be irritated by the Driver's "pushiness." Feelers see Drivers as being "control freaks" who want to "run over everyone else." The Driver will be annoyed by the Feeler's wimpiness. Drivers expect push-back, and when a Feeler just gives in, where's the fun in that? Drivers see Feelers as being "spineless" slugs who "beat around the bush" and "won't stand up for themselves."

When a Feeler talks with an Analyzer, she'll be annoyed by the Analyzer's "coldness." Feelers see Analyzers as being "too much in their heads" and as eggheads who "don't care about other people's feelings." The Analyzer will be irritated by the Feeler's "mushy-headed" approach to life. Analyzers see Feelers as "uninterested in ideas" and "losing their heads in a crisis."

When a Driver talks with an Analyzer, he may be annoyed by the Analyzer's cautious "look before you leap" foot-dragging. A Driver wants to forge ahead, because "he who hesitates is lost." The Analyzer will be especially infuriated when a Driver makes a "personal attack" in an argument. The Analyzer is sensitive to personal criticism and wants to "focus on ideas, not personalities."

When a Feeler, Driver, or Analyzer talks with an Elitist, they'll be put off by the Elitist's "arrogant and condescending" attitude. Since Elitists generally dress with excellent style, Feelers, Drivers, and Analyzers may criticise the Elitist for being "aristocratic." Elitists have elements of the Feeler, the Driver, and the Analyzer, so they have all sorts of ways to cross communications. The Elitist may see the Feeler as "weak" or "spineless"; may see the Driver as "pushy" and "overbearing"; may see the Analyzer as "cold" or "smart, but lacking vision."

There's a lot more to be said on Feelers, Drivers, Analyzers, and Elitists. I highly recommend the book "HOW CAN I GET THROUGH TO YOU?" by D. Glenn Foster and Mary Marshall for vastly more information on how these personality types work. Their interest is in helping people understand their own type and the types of others, so they can learn to get along.

Our interest, as novelists, is in learning how to understand our characters so we can pick a fight. Fiction is about characters in conflict. The more you know about what causes conflict, the more realistic your fiction will be.

I thank my friend, Mark Mynheir, a working cop and novelist, for alerting me to the Foster Method.

This article is reprinted by permission of the author.

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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

 

More Advanced Fiction Writing

Writing Craft: Backstory and Front-Story | Advanced Fiction Writing

Craft: Backstory and Front-Story

by Randy Ingermanson

Advanced Fiction Writing

Every character in your novel has a past, a present, and a future.

The future is fuzzy and out of focus, but your characters think they know what they want their future to be. 

The future that your protagonist wants is called the “story goal” for your novel, and it drives your story forward.

Your front-story is whatever is happening right now as your protagonist tries desperately to reach his or her story goal. 

The front-story is the reason your reader reads. Without a front-story, your novel is dead in the swamp. As much as possible, you need to always keep your front-story on center stage in your novel.

But your character has a past also—all the things that happened in their life that made them the person they are today. That past is called “backstory.”  

Backstory Matters

Backstory matters a lot. Nobody just walks onto the stage of your story without a past. Everybody carries baggage. The older you get, the more baggage you carry, unless you learn to let go. And nobody ever lets go of it all.

But backstory can be a story-killer. Reading a novel that begins with a huge lump of backstory is like going out on a first date and spending the whole time hearing about the other person’s miserable, horrible, no-good, very bad childhood. 

There’s a place for backstory. That place is not at the beginning of the story. At the beginning of the story, you want to be focusing on the front-story. The stuff that’s happening right now.

In Star Wars, we spend quite a lot of time getting to know Darth Vader before we ever learn that he’s Luke’s daddy. If we found that out in the first ten minutes, we wouldn’t care. Because we wouldn’t know Vader and we wouldn’t know Luke enough to care yet. But at the right place in the story, that little bit of backstory carries the force of a proton torpedo.

The Cardinal Rules of Backstory

So how do you know when to bring in backstory?

Here’s are two simple rules I use that guide me well most of the time:

• Bring in the backstory at exactly the point when the reader must know it in order to make sense of the scene I’m writing right now. 
• Tell only as much backstory as the reader needs to understand just this one scene.

These are not iron-clad rules. They’re useful rules of thumb. Use them when they improve your story. Ignore them when they don’t.

The TV series Lost used backstory heavily. Lost had a very large cast of characters, and it took many episodes to get to know them all. 

Typically, each episode highlighted just a few characters, and one or two of those would have a flashback that showed off some essential piece of backstory in their lives.

When I say “some essential piece of backstory,” I mean that piece is essential to understand the episode in which it appears.

Over the course of six seasons, we saw more and more backstory about each character, and understood them better and better.  

If you liked Lost, I suspect that part of the reason you liked it was that the backstory was strong. The backstory served the front-story.

Developing Your Backstory

There are two basic ways that novelists use to create their backstory:

• Figure it out before you need it
• Make it up as you need it

People who like to plan their novel before writing it (such as outliners or Snowflakers) usually figure out most of their backstory before they write their novel. Of course, during the process of writing the story, they’ll think up new bits of backstory and add that to whatever they started with.

People who like to write their novel without preplanning it (such as seat-of-the-pantsers and edit-as-you-go writers) usually make up backstory as they’re writing scenes. Then when the story is finished, they may need to do some work to make it all consistent and fill in any gaps. 

It really doesn’t matter which way you do things. Your brain is wired to favor one method over another, and I don’t recommend fighting the wiring in your brain. Work with your brain, not against it.

But however you prefer to work, I strongly recommend that you spend some time making sure your backstory is strong. It should be a reasonable explanation of how your character came to be the person they are. It should increase the conflict your character feels during the front-story.

Editing for Backstory

I also strongly recommend that when you edit the second draft of your novel, you should fire-test each chunk of backstory as it comes up in the story. Could you delay telling this bit of backstory until later in the story? Would that improve things? If the backstory is essential right now, could you tell less of it? Would that improve things?

The goal here is not “to get rid of all the backstory.” That would be like cutting off your nose to improve your smile.

The goal here is “to use the backstory to make the front-story as good as possible.”

This article is reprinted by permission of the author.

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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

 

More Advanced Fiction Writing

 

Mastering the Art of Red Herrings: Crafting Deceptive Clues in Fiction

By Olivia Salter

In the intricate dance of storytelling, one of the most effective techniques for maintaining reader engagement is the use of red herrings. These clever misdirections not only keep readers guessing but also enhance the depth of your narrative, allowing for surprising twists and enriching character development. When executed skillfully, red herrings can lead readers to draw false conclusions, creating a satisfying sense of surprise when the truth is finally revealed. Here’s how to skillfully incorporate red herrings into your fiction writing.

Understanding Red Herrings

A red herring is a literary device designed to mislead or distract readers from the actual plot or truth. It can take the form of misleading clues, character behaviors, or seemingly significant events that divert attention away from the real narrative thread. The key to a successful red herring lies in its subtlety; it should feel plausible enough for readers to believe in its significance while still allowing for the eventual revelation of the truth.

Creating Effective Red Herrings

To effectively employ red herrings in your writing, consider the following strategies:

1. Planting Plausible Clues

For a red herring to work, it must be grounded in the story’s context. Introduce elements that appear relevant but ultimately lead nowhere. For instance, if your plot revolves around a mysterious murder, you might introduce a character with a suspicious background who seems to have a motive. Readers will naturally begin to draw connections, only to be led astray when the truth is unveiled. Ensure that the clues you plant are believable and align with the story’s overarching themes.

2. Leveraging Character Behavior

Character actions and motivations can serve as a rich source of red herrings. A character who acts suspiciously may seem guilty of wrongdoing, but this behavior could stem from personal issues unrelated to the plot’s central mystery. By crafting complex characters with multifaceted motivations, you can mislead readers while simultaneously deepening their understanding of the character’s psyche. This not only creates tension but also adds layers to your narrative.

3. Utilizing Setting and Context

The setting of your story can also provide fertile ground for red herrings. Introduce elements within the environment that seem to hold significance. For example, a seemingly innocuous object found at a crime scene may lead readers to believe it’s a crucial clue, when in fact, it serves only to mislead. By weaving setting details into the narrative, you enrich the story while steering readers towards false conclusions.

Building Suspense Through Misdirection

Red herrings thrive on suspense. To maximize their impact, maintain a steady build-up of tension throughout your narrative. Here are a few techniques to consider:

1. Create Compelling Subplots

Subplots can serve as excellent vehicles for red herrings. Introduce secondary storylines that seem important but ultimately distract from the main plot. By weaving these subplots into the narrative, you can create a sense of complexity that keeps readers engaged while leading them astray.

2. Pace the Revelation of Clues

Strategically reveal your red herrings at a measured pace. Avoid overwhelming readers with too many clues at once; instead, allow them to piece together information gradually. This not only heightens suspense but also encourages readers to invest time and energy into solving the mystery themselves.

3. Balanced Clue Placement with Genuine Leads

While red herrings are designed to mislead, it’s crucial to balance them with genuine clues that contribute to the plot’s resolution. Readers should feel that they are on the right track, even if they ultimately arrive at a false conclusion. This balance keeps the narrative engaging and encourages readers to remain invested in the outcome.

The Payoff: Delivering the Truth

The true artistry of red herrings lies in the payoff—the moment when the truth is revealed and the misleading clues are unraveled. To ensure this moment is impactful, consider the following:

1. Build to a Climactic Revelation

The truth should emerge at a pivotal moment in your narrative, ideally during a climactic scene that ties together all plot threads. This revelation should feel like a natural progression from the buildup of clues and character arcs, allowing readers to experience the shock of realization while still feeling satisfied with the narrative’s coherence.

2. Reflect on the Misleading Clues

After the truth is unveiled, take a moment to reflect on the red herrings that led readers astray. This can be achieved through character dialogue or narrative exposition, allowing readers to appreciate the intricacies of the plot. Highlighting how the misleading clues shaped their understanding of the characters or setting can lead to deeper reflections on the story’s themes.

In conclusion, incorporating red herrings into your fiction writing can elevate your storytelling by creating intrigue and surprise. By planting plausible clues, leveraging character behavior, and utilizing setting details, you can skillfully mislead readers while enriching their understanding of the narrative. The key is to maintain a delicate balance between misdirection and genuine leads, ultimately delivering a satisfying revelation that leaves readers both surprised and enlightened. Mastering the art of red herrings will not only enhance your plots but also engage readers in a thrilling journey of discovery and reflection.