Embracing the Active Voice: Energizing Your Fiction Writing

Embracing the Active Voice: Energizing Your Fiction Writing

by Olivia Salter

In the realm of fiction writing, the choice between active and passive voice can significantly impact the clarity and engagement of your narrative. While both forms have their place, utilizing the active voice is often the more effective approach for crafting compelling stories. This article explores the benefits of using the active voice and provides practical tips to enhance your writing.

Understanding Active vs. Passive Voice

To grasp the importance of active voice, it’s essential to understand the difference between active and passive constructions. In an active voice sentence, the subject performs the action. For example, "The dog chased the ball" clearly highlights the dog as the doer. In contrast, passive voice shifts the focus away from the subject, as in "The ball was chased by the dog." While passive voice can create a sense of mystery or formality, it often leads to vagueness and can make prose feel lethargic.

Why Active Voice Matters

1. Clarity and Directness: Active voice sentences typically follow the straightforward structure of noun-verb-object, making them easier for readers to understand. This clarity allows readers to engage with the story without pause, enhancing their overall experience.
2. Enhanced Engagement: By placing the subject at the forefront, active voice draws readers into the action. It creates a sense of immediacy and urgency, making them feel as if they are part of the unfolding drama. For example, “She sprinted down the street” evokes a vivid image and a sense of speed and determination.
3. Dynamic Characterization: Using active voice can breathe life into your characters. When actions are clearly attributed to characters, their motivations and personalities become more pronounced. For instance, “He crafted a masterful painting” showcases the character’s skill and creativity, while “A masterful painting was crafted by him” diminishes that impact.
4. Pacing and Rhythm: Active voice contributes to a more dynamic pacing in your writing. It propels the narrative forward, ideal for action scenes or moments of tension. Conversely, passive constructions can slow down the pace, which may not always serve the story's needs.

When to Use Passive Voice

While active voice should generally dominate your writing, there are instances where passive voice can be beneficial. For example, when the doer of the action is unknown or irrelevant, passive voice can shift focus. “The vase was broken” emphasizes the vase rather than the person who broke it. Additionally, incorporating passive voice sparingly can create a contrast that highlights the active voice when it returns.

Practical Tips for Using Active Voice

1. Identify Your Subjects: As you write, consistently ask yourself, “Who is performing the action?” This awareness will help you construct sentences that prioritize active voice.
2. Revise for Clarity: During the editing phase, look for passive constructions and consider how to rewrite them in active voice. This could involve rearranging sentences or replacing weak verbs with stronger, more dynamic ones.
3. Read Aloud: Hearing your sentences can reveal whether they feel engaging and energetic. Active voice tends to have a natural rhythm that can be easily detected when spoken.
4. Limit Adverbs: Active voice often requires fewer adverbs. Instead of saying, “He ran quickly,” consider a more vivid verb: “He sprinted.” This not only strengthens your writing but also reinforces the active voice.
5. Practice with Prompts: Engage in writing exercises that challenge you to convert passive sentences into active ones. This practice will refine your skills and deepen your understanding of voice.

In conclusion, in fiction writing, the active voice is a powerful tool that can transform your storytelling. By embracing a noun-verb-object structure, you enhance clarity, engagement, and characterization. While passive voice has its place, limiting its use in favor of an active approach will lead to more dynamic and compelling narratives. As you craft your stories, remember to keep the action alive and let your characters shine through their deeds. With practice, the active voice will become a natural and effective part of your writing style.

How to Create Memorable Plot Twists

How to Create Memorable Plot Twists

by Olivia Salter

Creating memorable plot twists can elevate your story and keep readers on the edge of their seats. Here are some tips to craft effective and surprising twists:

1. Foreshadowing

Subtly hint at the twist throughout your story. This can be through small details, dialogue, or events that seem insignificant at first but gain importance later. The key is to make these hints subtle enough that they don’t give away the twist but clear enough that readers can look back and see the clues.

2. Red Herrings

Introduce misleading clues or events that divert the reader’s attention away from the real twist. This technique keeps readers guessing and makes the actual twist more surprising.

3. Character Secrets

Reveal hidden aspects of a character’s past or true motivations. This can change the reader’s perception of the character and the story, adding depth and complexity.

4. Unexpected Consequences

Have an event or decision lead to an unforeseen outcome. This can be particularly effective if the outcome is logical but not immediately obvious.

5. Reversals

Turn the story on its head by reversing the expected outcome. This could involve a character betraying another, a seemingly solved problem re-emerging, or a hero becoming a villain.

6. Pacing

Build up to the twist gradually. Proper pacing ensures that the twist feels earned and not out of place. Too sudden a twist can feel jarring, while too slow a buildup can lose the reader’s interest.

7. Consistency

Ensure that the twist is consistent with the story’s internal logic and character development. A twist that feels forced or out of character can break the reader’s immersion.

8. Emotional Impact

Aim for twists that have a strong emotional impact. Whether it’s shock, sadness, or joy, the twist should evoke a strong reaction from the reader.

9. Multiple Twists

Consider using more than one twist in your story. This can keep the reader engaged and constantly re-evaluating their understanding of the plot.

10. Test Your Twist

Before finalizing your twist, test it on a few trusted readers. Their reactions can help you gauge whether the twist is effective and surprising.

By incorporating these techniques, you can create plot twists that are not only memorable but also enhance the overall narrative of your story.

Crafting Compelling Narratives: The Art of Fiction Writing

Crafting Compelling Narratives: The Art of Fiction Writing

by Olivia Salter

Narrative writing is the backbone of fiction, weaving together characters, settings, and plots to create immersive stories. Whether you’re penning a novel, short story, or screenplay, mastering the art of narrative writing is essential for captivating your audience. This article explores key elements and techniques to enhance your narrative writing skills.

Understanding Narrative Structure

At its core, narrative writing involves a structured sequence of events. This structure typically includes:

1. Exposition: Introduces the setting, characters, and initial conflict.
2. Rising Action: Builds tension through a series of events leading to the climax.
3. Climax: The turning point where the main conflict reaches its peak.
4. Falling Action: Events following the climax that lead towards resolution.
5. Resolution: Concludes the story, resolving conflicts and tying up loose ends.

Character Development

Characters are the heart of any narrative. To create compelling characters:

• Give them depth: Develop backstories, motivations, and flaws.
• Show growth: Allow characters to evolve in response to the story’s events.
• Create relatability: Readers should see parts of themselves in your characters.

Setting the Scene

A well-crafted setting enhances the narrative by providing context and atmosphere. Consider:

• Sensory details: Describe sights, sounds, smells, and textures.
• Historical and cultural context: Ground your story in a specific time and place.
• Symbolism: Use settings to reflect themes or character emotions.

Plot Development

A strong plot keeps readers engaged. Key tips include:

• Conflict: Introduce and escalate conflicts to drive the story forward.
• Pacing: Balance action with moments of reflection and character development.
• Subplots: Add depth and complexity with secondary storylines.

Narrative Techniques

Various techniques can enhance your narrative writing:

• Point of View: Choose between first-person, third-person, or omniscient perspectives.
• Dialogue: Use realistic and purposeful dialogue to reveal character and advance the plot.
• Foreshadowing: Hint at future events to build anticipation.
• Flashbacks: Provide background information and deepen character understanding.

In conclusion, mastering narrative writing in fiction involves a blend of structure, character development, setting, plot, and technique. By honing these elements, you can craft stories that resonate with readers and leave a lasting impact.

Be Yourself: An Original is Always Better Than a Copy

Be Yourself: An Original is Always Better Than a Copy

by Olivia Salter

In the realm of fiction writing, the adage “Be yourself; an original is always better than a copy” holds profound significance. This principle not only guides writers in crafting unique narratives but also empowers them to embrace their authentic voices. Here’s why originality is paramount in fiction writing and how you can harness it to create compelling stories.

The Power of Authenticity

Authenticity in fiction writing is about staying true to your unique perspective and experiences. When you write from a place of authenticity, your stories resonate more deeply with readers. They can sense the genuine emotions and thoughts behind your words, making your characters and plots more relatable and engaging.

Avoiding the Trap of Imitation

While it’s natural to be inspired by other writers, falling into the trap of imitation can stifle your creativity. Imitation may provide a temporary sense of security, but it ultimately limits your potential. Readers can often detect when a story lacks originality, which can diminish their interest and trust in your work.

Embracing Your Unique Voice

Every writer has a unique voice shaped by their experiences, beliefs, and imagination. Embracing this voice is crucial for creating original fiction. Your voice is what sets you apart from other writers and makes your stories distinctive. Don’t be afraid to experiment with different styles and genres until you find what truly resonates with you.

Crafting Unique Characters and Plots

Originality in fiction also extends to the characters and plots you create. Avoid relying on clichés and stereotypes. Instead, develop multi-dimensional characters with unique backgrounds, motivations, and flaws. Similarly, strive to create plots that offer fresh perspectives and unexpected twists. This not only keeps your readers engaged but also showcases your creativity and ingenuity.

The Courage to Be Different

Being original often requires courage. It means taking risks and sometimes facing criticism. However, the rewards of originality far outweigh the challenges. Original stories have the power to inspire, provoke thought, and leave a lasting impact on readers. They stand out in a crowded market and can establish you as a distinctive voice in the literary world.

Practical Tips for Embracing Originality

1. Write What You Know: Draw from your own experiences and emotions. Authenticity often stems from personal truth.
2. Read Widely: Exposure to diverse genres and styles can spark new ideas and perspectives.
3. Experiment: Don’t be afraid to try new techniques and approaches. Experimentation can lead to unexpected and original outcomes.
4. Trust Your Instincts: Believe in your unique vision and voice. Trust that your originality will resonate with the right audience.
5. Seek Feedback: Constructive criticism can help you refine your work while staying true to your original vision.

In conclusion, in fiction writing, being yourself and embracing originality is not just a creative choice but a necessity. It’s what makes your stories memorable and impactful. So, dare to be different, trust in your unique voice, and remember that an original is always better than a copy. Your authenticity is your greatest asset as a writer.

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I hope this article inspires you to embrace your originality in your writing journey!

The Art of Beginnings and Endings: Crafting Unforgettable Hooks for Your Fiction

The Art of Beginnings and Endings: Crafting Unforgettable Hooks for Your Fiction

by Olivia Salter

In the realm of fiction writing, the opening lines and endings of a story hold immense power. They serve as the gateways through which readers embark on their literary journeys. A strong opening can captivate attention instantly, while a compelling ending leaves a lasting impression. Mastering the art of openings, hooks, and endings is crucial for any aspiring writer.

The Importance of Openings

The opening of a story is akin to the first impression one makes in a conversation. It sets the tone, establishes the mood, and invites readers into the world you've created. A well-crafted opening can transport readers, making them eager to uncover what lies ahead.

There are various strategies for crafting effective openings. One popular method is to start with a question or a bold statement that piques curiosity. For instance, "What if you woke up one day with the power to change your past?" This approach not only intrigues the reader but also hints at the internal conflict that will unfold.

Another effective technique is to introduce a vivid setting or a compelling character right from the start. Describing a bustling marketplace or a lonely figure on a cliff can immerse readers in the narrative and make them want to know more about the characters’ stories.

The Power of Hooks

A hook is a literary device that entices readers to keep turning the pages. It's often found within the first few paragraphs or chapters and serves to create suspense, introduce conflict, or reveal important stakes. A good hook is essential for maintaining reader interest.

Consider using dramatic tension or an unexpected twist as a hook. For example, starting with a character who receives a mysterious letter that threatens their safety can create immediate urgency. Alternatively, introducing a character in a moment of crisis—such as being chased or facing a moral dilemma—can also hook readers.

Hooks can also be thematic or emotional. A relatable sentiment, like the fear of losing someone or the longing for adventure, can resonate deeply with readers and motivate them to continue reading to explore how these themes unfold.

Crafting Memorable Endings

While openings draw readers in, endings are what leave them satisfied—or in some cases, craving more. A strong ending ties up loose ends, resolves conflicts, and often reflects the journey the characters have undertaken. 

One effective way to create a memorable ending is to echo the themes introduced in the beginning. This technique provides a sense of closure and reinforces the story's message. For instance, if a story begins with a character struggling with identity, concluding with their acceptance of self can be profoundly impactful.

Twists can also enhance endings, surprising readers and providing new insights into the narrative. However, it’s crucial that any twist feels organic and earned; it should not undermine the story's integrity or the characters' development.

Another approach is to leave readers with a thought-provoking question or an open-ended conclusion. This can encourage reflection and discussion long after the last page is turned. A subtle hint of ambiguity can create a lingering sense of wonder, allowing readers to engage with the story even after it's finished.

In conclusion, fiction writing, the interplay between openings, hooks, and endings is essential for creating an engaging narrative. A captivating beginning draws readers into the world you've crafted, a well-placed hook keeps them invested, and a satisfying ending ensures they walk away with a lasting impression. By mastering these elements, writers can elevate their storytelling and create unforgettable literary experiences. Remember, a great story begins with a strong opening and ends with a powerful farewell, echoing in the minds of readers long after they've closed the book.

 Show Or Tell: Which Is Better?

by Crawford Kilian

Novice writers (and some professionals) often fall into the trap of "expositing" information instead of presenting it dramatically. Sometimes exposition is inevitable, or even desirable. Lloyd Abbey, in his brilliant SF novel The Last Whales, gives us exactly one line of human dialogue; his characters, all being whales, can't speak to one another, so the narrator must tell us what they think and do. Gabriel Garcia Marquez can also write superb exposition for page after page.

Most of us ordinary mortals, however, need to dramatize our characters and their feelings. Otherwise our readers will tire of our editorials.

Consider the following expository and dramatic passages. Which more adequately conveys what the author is trying to show to the reader?

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Vanessa was a tall woman of 34 with shoulder-length red hair and a pale complexion. She often lost her temper; when she did, her fair skin turned a deep pink, and she often swore. She was full of energy, and became impatient at even the slightest delay or impediment to her plans. Marshall, her chief assistant, was a balding, mild-mannered, nervous man of 54 who was often afraid of her. He was also annoyed with himself for letting her boss him around.

---------------

Vanessa abruptly got up from her desk. A shaft of sunlight from the window behind her seemed to strike fire from her long red hair as she shook her head violently.

"No, Marshall! God damn it, this won't do! Didn't I make myself clear?"

"Yes, Vanessa, b-but--"

"And you understood what I told you, didn't you?" Her pale skin was flushing pink, and Marshall saw the signs of a classic outburst on the way. She took a step toward him, forcing him to look up to meet her gaze; she must be a good three inches taller. He raised his hands in supplication, then caught himself and tried to make the gesture look like the smoothing of hair he no longer had. He felt sweat on his bald scalp.

"Vanessa, it was a--"

"It was another one of your screw-ups, Marshall! We're committed to a Thursday deadline. I'm going to make that damn deadline, whether or not you're here to help me. Now, am I going to get some cooperation from you, or not?"

Marshall nodded, cursing himself for his slavish obedience. Fifty-four years old, and taking orders from a bitch twenty years younger. Why didn't he just tell her to shove it?

"All the way, Vanessa. We'll get right on it."

"Damn well better." Her voice softened; the pink faded from her cheeks. "Okay, let's get going."

 

Comment: A paragraph of exposition has turned into a scene: the portrayal of a conflict and its resolution. The scene has also prepared us for further scenes. Maybe Marshall's going to destroy himself for Vanessa, or poison her; maybe Vanessa's going to learn how to behave better. Most importantly, the authorial judgments in the exposition are now happening in the minds of the characters and the mind of the reader--who may well agree with Marshall, or side with Vanessa.

Here's another example:

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Jerry was 19. Since leaving high school a year before, he had done almost nothing. He had held a series of part-time jobs, none of them lasting more than a few weeks. His girl friend Judy, meanwhile, was holding down two summer jobs to help pay for her second year of college. Jerry controlled her with a combination of extroverted charm and bullying sulkiness. Secretly he envied her ambition and feared that she would leave him if he ever relaxed his grip on her.

 

---------------

"Hey, good-lookin'," Jerry said as he ambled into the coffee shop and took his usual booth by the window.

"Hi," said Judy. She took out her order pad.

"Hey, I'm real sorry about what I said last night. I was way outa line."

"Would you like to order?"

"Hey, I said I was sorry, all right? Gimme a break."

"That's fine. But Murray says not to let my social life get in the way of my job. So you've got to order something for a change."

He snorted incredulously. "Hey, I'm broke, babe."

She stared out the window at the traffic. "You can't hang out here all day for the price of a cup of coffee, Jerry. Not any more. Murray says he'll have to let me go if you do."

"Well, tell him to get stuffed."

"Jerry, be reasonable. I can't. I need...this...job."

"Christ, you already got the job at the movie theatre."

"That's nights, and it hardly pays anything. I've got my whole second year at college to pay for this summer. Jerry, maybe we can talk about this after I get off work, okay?"

"Yeah, right. See you Labor Day, then."

"Jerry, don't be a smartass. See you at four, okay?"

He got up, shrugging. "Yeah, sure. Guess I'll go over to the bus station and read comic books until then." He glared at her. "Don't be too nice to the guys who come in here. I find out you been fooling around with anybody, you know you're in trouble, right?"

"Right, Jerry. I'm really sorry. See you later."

 

Comment: Again we have a conflict that promises to lead to further conflicts and their resolution. We want to know if Judy will ditch Jerry, or Jerry will smarten up. Their relationship reveals itself through their dialogue, not through the author's editorializing.

Note that both these examples involve a power struggle. Someone is determined to be the boss, to get his or her way. Most scenes present such a struggle: someone decides on pizza or hamburgers for dinner, someone chooses the date for D-Day, someone comes up with the winning strategy to defeat the alien invaders or elect the first woman president. We as readers want to see the resources thrown into the struggle: raw masculinity, cynical intelligence, subtle sexual manipulation, political courage, suicidal desperation.

Depending on which resources win, we endorse one myth or another about the way the world operates: that raw masculinity always triumphs, that political courage leads nowhere, and so on. Of course, if we are writing ironically, we are rejecting the very myths we seem to support. By using raw macho bullying mixed with a little self-pity, Jerry seems to win his power struggle with Judy. But few readers would admire him for the way he does it, or expect him to succeed in the long term with such tactics.

Think carefully about this as you develop your scenes. If your hero always wins arguments in a blaze of gunfire, he may become awfully tiresome awfully fast. If your heroine keeps bursting into tears, your readers may want to hand her a hankie (better yet, a towel) and tell her to get lost.

Ideally, the power struggle in each scene should both tell us something new and surprising about the characters, and hint at something still hiding beneath the surface--like the insecurity that underlies Jerry's and Vanessa's bullying.

Crawford Kilian books at Amazon. 

Writing Craft: When You Can’t Finish Your Story by Randy Ingermanson | Advanced Fiction Writing

When You Can’t Finish Your Story

by Randy Ingermanson

Advanced Fiction Writing

When you can’t seem to finish the first draft of your story, that’s a sign something’s wrong. You could try to power through to the end, but if you try that repeatedly and you still can’t finish, then the story is probably broken.

In that case, you have two choices:

• Throw it away and start over.
• Fix it.

Usually, fixing a story is a lot more economical than throwing it away. If the story can’t be fixed, then yes, go ahead and throw it away. But most stories can be fixed. It’s a matter of asking the right questions. Below are a few that may be useful.

Did the Story Have a Plan?

Many writers don’t plan before they start writing. They just write without a plan, and a story emerges.

That’s the theory, anyway, and it very often works beautifully. But in practice, sometimes a coherent story doesn’t emerge. It happens.

When it happens, when you can’t make a story emerge, it may be time to take drastic action. You may need to make a plan, based on the story you have so far. One way to do this is to use the Flowsnake Method that I talked about in the April issue of this e-zine. The Flowsnake Method essentially works my Snowflake Method backward, starting from the story and ending up with a one-sentence summary. And a plan for the story.

Depending on how complicated your story is, using the Flowsnake Method will take you anywhere from a few hours to a couple of weeks. That’s a big time investment, but if you’re stuck, it’s a price you might be willing to pay to get unstuck.

Did the Story Follow the Plan?

You may have started with a plan, but that’s no guarantee of success.

I’m pretty sure no author ever made a plan for a story and followed it exactly. I never have, and I don’t expect I ever will.

Things change as you write the story. Some characters walk on the stage and say things you weren’t expecting. Others just don’t play as big a role as you had expected. Sometimes, small story strands turn into major plot threads. Or the story veers in a direction you couldn’t have foreseen.

Your story evolves. That’s not bad, that’s good. Usually, that evolution takes you to a better place than the story you had planned, and all is well.

But sometimes your story evolves in a way that paints you into a corner. When you’re painted in a corner, you can either walk over wet paint or break a wall. Either way, you need to change from evolution to revolution.

What that means is you need to replan your story. That shouldn’t be hard. You planned the story once, so you ought to be able to plan it again.

But before you make the new plan, write down what’s wrong with the actual story you wrote. And keep that in front of you when you write up the new plan.

Was the Original Plan Bad?

Sometimes, you wrote something pretty close to what you originally planned, but it turned out to be a bad plan.

That can be hard to swallow. You like to think you’re a good writer. It’s tough to admit you made a bad plan. But if the story isn’t working, it’s better to own up to your mistake than to stick to a plan that was bad.

Read the plan again, looking for fundamental errors:

• Can you summarize your storyline in one sentence?
• How does your protagonist change in the story?
• What is the theme of the story?
• Are the storyline and the character arc and the theme in sync with each other?

If you look long enough, you should be able to spot the cracks in your original plan that prevented you from writing the story you wanted.

The hard part is to make a new plan. You may need to break large parts of the story. You might need to throw away some scenes. Or some characters. Or rethink who those characters are.

Do what you need to do to make a plan that actually works. Then get back in gear and follow the new plan.

It’s helpful to remember that writing isn’t some mindless paint-by-numbers thing.

Writing is Hard

If writing was easy, everyone would write a bestseller, and nobody would earn any money, because there would be too many great stories available to buy and not enough buyers to buy them all.

So be glad writing is hard. But that means you’ll often get stuck. Everyone gets stuck. When you’re stuck, you don’t want to hear that writing is hard and everyone gets stuck, but it’s what you need to hear. Because the first step on the road to getting unstuck is to recognize that you’re stuck.

Homework:

• Is your current story stuck in the first draft?
• Did it have a plan to begin with?
• If it had a plan, did you drift so far away from it that you need a new plan?
• If you followed the plan, was it a bad plan to begin with?

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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

 

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