Tag: fiction

Fantasy? Nah, My Neighborhood

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[found on terribleminds.com; by Chuck Wendig]

“ROOTED IN THE REAL

Reality is fantasy’s best friend. We, the audience, and you, the writer, all live in reality. The problems we understand are real problems. Genuine conflicts. True drama. The drama of families, of lost loves, of financial woes. Cruel neighbors and callow bullies and loved ones dead.

This is the nature of write what you know, and the fantasy writer’s version of that is, write what’s real. Which sounds like very bad advice, because last time I checked, none of us were plagued by dragons or sentient fungal cities or old gods come back to haunt us. But that’s not the point — the point is, you use the fantasy to highlight the reality.

The dragon is the callow bully. The lease on your fungal apartment is up and your financial woes puts you in tithe to the old gods who in turn make for very bad neighbors. You grab the core essence of a true problem and swaddle it in the mad glittery ribbons of fantasy — and therein you find glorious new permutations of conflict. Reality expressed in mind-boggling ways. Reach for fantasy. Find the reality.”

For more tips on writing fantasy from Chuck Wendig, click here.

[found on http://terribleminds.com/ramble/2012/06/19/25-things-you-should-know-about-writing-fantasyzzz]

Fiction — The Highest Autobiography

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[found on nytimes.com; by COLSON WHITEHEAD]

“Write what you know. Bellow once said, “Fiction is the higher autobiography.” In other words, fiction is payback for those who have wronged you.

When people read my books “My Gym Teacher Was an Abusive Bully” and “She Called Them Brussels Sprouts: A Survivor’s Tale,” they’re often surprised when I tell them they contain an autobiographical element.

Therein lies the art, I say. How do you make that which is your everyday into the stuff of literature? Listen to your heart. Ask your heart, Is it true? And if it is, let it be. Once the lawyers sign off, you’re good to go.”

For more excellent tips on writing from Colson Whitehead, click here.

[found on http://www.nytimes.com/2012/07/29/books/review/colson-whiteheads-rules-for-writing.html?_r=0]

Make Your Readers Worry, And They Will Be Loyal

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[found on writersdigest.com]

“Predictability

Readers like to worry about characters in crisis. They want to tremble about what’s around the next corner (whether it’s emotional or physical). If a reader knows what’s coming, and then it does in fact come, the worry factor is blown. Your novel no longer conveys a fictive dream but a dull ride down familiar streets.

The fix is simple: Put something unexpected in every scene. Doing this one thing keeps the reader on edge.

So how do you come up with the unexpected? Try making lists. Pause and ask yourself what might happen next, and list the possibilities, centering on three primary areas: description, action and dialogue. For each one, don’t choose the first thing that comes to mind (which usually amounts to cliches). Force yourself to list at least five alternatives.

Description: Dump generic details for ones unique to the character’s perceptions. How might he see a room where someone died? What’s one surprising thing about the wallpaper? The bed? The closet?

Action: Close your eyes and watch your scene unfold. Let the characters improvise. What are some outlandish things that could result? If something looks interesting, find a way to justify it.

Dialogue: Don’t always use “on-the-nose” exchanges. How might characters say things that put other characters (and thus, readers) off balance? Consider Clarice Starling’s first conversation with Hannibal Lecter in The Silence of the Lambs. Clarice begins:

“I think you’ve been destructive. For me it’s the same thing.”

“Evil’s just destructive? Then storms are evil, if it’s just that simple. And we have fire, and then there’s hail. Underwriters lump it all under ‘Acts of God.’”

“Deliberate––”

“I collect church collapses, recreationally. Did you see the recent one in Sicily?”

You can make these lists in your planning stages, just before writing a scene, and/or when you revise. Either way, the unexpected elements that result will perceptibly elevate the quality of your story.”

For more tips on writing from , click here.

[found on http://www.writersdigest.com/online-editor/the-5-biggest-fiction-writing-mistakes-how-to-fix-them]

Act of Writing

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“In writing, the point is not to manifest or exalt the act of writing, nor is it to pin a subject within language; it is, rather, a question of creating a space into which the writing subject constantly disappears.” 

― Michel Foucault

Sadness For Another Day

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[found on helpingwritersbecomeauthors.com; by ]

“Are sad stories with sad endings the domain of the lonely, the manic-depressive, and the masochistic?

…Take a moment to think about the stories that have changed your life. I’m willing to bet many of them were stories of pain, loss, sacrifice, and sin.

These are the stories that speak bluntly about hard subjects and force their characters—and their readers—to face hard truths and, hopefully, walk away from the realizations as someone slightly different and perhaps slightly better.

Few of us would want to subsist on a steady diet of tragedy, but all of us are better for having occasionally cleansed our reading palate with the astringent bite of these unflinching portrayals of bittersweet truth….

Sad stories don’t have to be depressing stories. The stories that have broken my heart and changed my life are stories of great tragedy, but they’re also stories of great hope. That, right there, is where we find the true power of the sad story—because light always shines brightest in the darkness.”

For more tips on writing from K.M. Weiland, click here.

[found on http://www.helpingwritersbecomeauthors.com/2011/05/are-happy-endings-must.html]

Authors Oblivious

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“On the day the world is blown up, the playwright whose show opened the night before will be leafing past the news section of the Times to find his review—as he ascends through the stratosphere, oblivious.” 

― Arthur Miller, Salesman in Beijing