Dedicated to the classic books on fiction writing. Learn to write short stories, novels, and plays by studying the classic how-to books. I believe fiction writing is a Craft. In the hands of a writer who has mastered the Craft, it can become more than that. It can become Art. Art = Talent + Craft But the bedrock is Craft. There are fundamental techniques to be studied, unfamiliar tools to be mastered, tricks of the trade to be learned. And it all takes time. (Writing Mastery) (Writing Craft)
Writing flow, often described as a state of effortless concentration where words spill effortlessly onto the page, is a coveted experience for many fiction writers. It’s that magical moment when inspiration strikes, and the story unfolds with clarity and ease. However, achieving this state can be elusive. Here are some strategies to help you tap into your writing flow and enhance your creative output.
Foreword
In the ever-evolving landscape of literature, the craft of fiction writing remains a timeless pursuit that calls to the hearts and minds of aspiring authors. It is in this context that "The Technique of Fiction Writing" by Robert Saunders Dowst emerges as a beacon of insight and inspiration. Dowst’s work not only reflects his deep understanding of the literary arts but also serves as a guiding compass for those willing to navigate the complexities of storytelling.
From the very first pages, readers will discover that Dowst approaches the art of fiction with both rigor and creativity. He dissects the fundamental elements that constitute a compelling narrative—character development, plot construction, dialogue, and thematic depth—offering practical techniques that can be grasped by writers at any stage of their journey. His clear and engaging prose invites readers to delve into the intricacies of crafting believable worlds and unforgettable characters, illuminating the path from mere idea to fully realized story.
What sets this book apart is Dowst’s ability to blend theory with practice. He understands that writing is as much about inspiration as it is about technique, and he encourages writers to find their unique voice while honing their skills. Through a series of thoughtful exercises and insightful analyses, he empowers authors to experiment, fail, and ultimately succeed in capturing the essence of the human experience through their narratives.
Moreover, "The Technique of Fiction Writing" is not just a manual for aspiring authors; it is a conversation starter about the nature of storytelling itself. Dowst invites readers to reflect on the role of fiction in society, the responsibilities of the writer, and the transformative power of storytelling. His reflections resonate with anyone who has ever been moved by a tale, reminding us of the profound impact that well-crafted fiction can have on our lives.
As you embark on this journey through Dowst’s insights, remember that every great author started with a single word, a fleeting thought, or a spark of inspiration. Allow this book to guide you, challenge you, and encourage you to embrace the beautiful chaos of the creative process. May it serve as both a resource and a companion, nurturing your passion for writing and enriching your understanding of the art of fiction.
Welcome to a world of imagination and possibility, where each page turned is a step closer to your own storytelling mastery.
Olivia Salter
09/17/2024
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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.
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 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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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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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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Celebrate Small Wins: Acknowledge and celebrate your achievements, no matter how small. This positive reinforcement keeps you motivated and reminds you of your progress.
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.
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.
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:
Let's look at each of these in turn:
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.
