Tag: written
Pulse of a Book
“Write from the heart. A book without a pulse is like a person without a spirit.”
— Linda Radke, President of Five Star Publications
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A Writer’s Aesthetic
“The writer has little control over personal temperament, none over historical moment, and is only partly in charge of his or her own aesthetic.”
― Julian Barnes, Nothing to Be Frightened Of
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How to Make a Who-Dun-It
[found on blog.karenwoodward.org; by Karen Woodward]
“1. Know who your murderer is and why they did it.
– What was their goal?
– What are the stakes?
– What motivates the killer?
By the end of the story make sure you’ve answered these questions in your manuscript.
2. Leave clues
The clues “do not have to be obvious or even fully explained. You’ll want to leave some “mystery in your mystery.”
3. After you finish the first draft add in clues where needed
Price’s tip: Red herrings are much easier to add in after the book is written as long as you don’t write yourself into a corner with your characters, such as explaining everything they do and why.
4. Don’t fully explain everything
Price writes: “Let your characters retain some mystery.”
People aren’t fully explained any more than they are wholly good or bad, your characters should reflect this.
5. Your protagonist doesn’t have to know everything, at least not right away
Like you and me, it’s okay if your sleuth doesn’t have all the answers and is unsure about what happened … as long as she gets there in the end.”
[found on http://blog.karenwoodward.org/2013/04/5-rules-for-writing-murder-mystery.html]
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Name That Face
[found on writersdigest.com; by Elizabeth Sims]
There are many different styles of naming your characters, one is the ironic choice.
“Ironic Names
Large chunks of Alexander McCall Smith’s bestselling 44 Scotland Street series concern the difficult life of Bertie Pollock, an Edinburgh schoolboy. Two of his schoolmates are lads named Larch and Tofu. Though minor characters, they’re there for a distinct purpose.
The names interact with a savory irony. Tofu and Larch’s names obviously have been bestowed by parents with finely tuned ideals. Political correctness abounds: One boy’s name is a legume paste, the other a tree. Yet the characters, we learn from their actions and words, are as shallow and phony-hearted as their names are sophisticated.
Smith gives us, by contrast, the simple, direct, honest Bertie. He is worth more than both Tofu and Larch put together. His is an ordinary, unpretentious name; his surname, Pollock, is a common fish. Bertie, then, is the humble everyman who must endure everybody else’s idiotic, self-serving vanities.
But for pure triumphal irony, can anything top the Veneering family, of Dickens’ classic Our Mutual Friend? Such a vaguely grand-seeming name for a vaguely grand family. Simultaneously, of course, their name clues us in that they are nothing but surface. And we enjoy watching them try—and fail—to live up to their banal aspirations.
Ironic names are easy to create: Just think of your character’s opposite qualities and brainstorm liberally. Let’s say you’ve got a clumsy guy who lives with his parents and aspires merely to avoid work and download porn. You could give him an ironic name like Thor or Victor or Christian or even Pilgrim. Or you could give him a first name that’s a family surname, like Powers or Strong.
Authors who want to use ironic character names should strictly limit themselves to one per story or novel.”
To see other options of name choice from Writer’s Digest, click here.
[found on http://www.writersdigest.com/writing-articles/by-writing-goal/improve-my-writing/namedropping-finding-solid-names-for-your-unique-characters]
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Control the Voices
“Writers are nothing more than borderline schizophrenics who are able to control the voices.”
― Jennifer Salaiz
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Write Because You Want to Read
Which or That?
[found on writetothepoint.com; by Gary Kinder]
“The difference between “that” and “which” might be the most confounding piece of grammar in the English language, but it doesn’t have to be. Here’s what you need to know: Grammarians call the words following a “that” or a “which” a “relative clause.” That relative clause either “restricts” (I like the word “distinguishes” better, but grammar texts have long called the word “that” “restrictive”) what it modifies, or it “does not restrict” what it modifies. The writer tells us which it is by the word he chooses to introduce the clause.
“That” at the beginning restricts; it means that the writer wants the relative clause to distinguish one thing from a universe of like things. “Which” at the beginning means the writer addresses only one thing, and he simply wants to add information.”
[found on http://writetothepoint.com]
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Killing Your Characters
[found on writersrelief.com; by Writers Relief Staff]
“If you’re considering killing off your main character, keep the following tips in mind:
- Be somewhat realistic. It may be hard to swallow if your main character survives what no one should be able to. When a jumbo jet crashes in the desert but your hero, Jack, walks away unscathed thanks to his skill with a nail file and a soda can, you can practically hear your readers groan.
- Plot problems. Don’t kill the protagonist if you are having problems with the storyline and simply don’t know what to do next: The heroine finds herself between an enraged grizzly and a cliff—if you can’t figure out a plausible way to extricate her, this shouldn’t be the only reason to kill her off.
- Beware morality statements. Perhaps your main character’s death is a natural consequence of his fatal flaw. He is a functioning alcoholic and sometimes drinks and drives. Be very careful not to make this into a morality statement by waving it over your readers’ heads: This is what happens to drunk drivers! You want the story to be powerful, not your personal statement on drunk driving.
- Don’t kill the MC off in a trivial or anticlimactic way. In other words, unless it’s tied to the theme or plot in some significant way, Hattie Heroine should not die from an infected paper cut. If we’ve invested in her character, we need some tension building up to her death.
- Avoid resurrections. Please don’t be tempted to miraculously bring a main character back to life unless it’s an integral part of your plot or theme (like a medical thriller centered around a miraculous new drug that reverses death). What? It was actually Hattie Heroine’s twin sister who died of infection? Like an ending where the MC wakes up and realizes everything was just a dream, a miraculous resurrection can be a little cheesy—or an easy out.”
Editing Addict, LLC 