Category: Reblogs

Reblog: Don’t dribble out morsels of information within a scene — Nathan Bransford

Today’s reblog comes from Nathan Bransford, who discusses some of the nitty-gritty details of getting across information when a scene is on the move.

Sometimes it’s hard to know when to reveal different pieces of information. Bransford suggests the simple and expedient route: give the reader the information they need to understand the scene, and give it to them up-front. Don’t make a scene a puzzle to piece together as you read it.

When you’re honing the narrative voice within your novel, you will likely get into all sorts of trouble if you try too hard to faithfully recreate a character’s contemporaneous thoughts. You probably won’t give the reader the context they need and you’ll risk disorienting the reader with inadequate physical description.

Remember, the narrative voice is storytelling to a reader. You are not transcribing the literal thoughts of someone in an alternate world (unless you’re writing something very experimental). It weaves in a character’s contemporaneous thoughts, but you have to make sure the elements the reader needs are present.

One major pitfall of trying too hard to stay true to a character’s thoughts is that some writers will wait for a “pause” in the action before they show the character observing their surroundings and concoct triggers for characters to look at things.

Read the rest over at Nathan Bransford’s blog…

Reblog: Want to Build Tension? Encourage the Reader to Ask Questions — Angela Ackerman

Today’s reblog comes from Angela Ackerman, guest-posting on Jane Friedman’s blog. She discusses how to use the push and pull of tension to draw the reader in and keep them wondering what will happen next.

We can make good use of the reader’s need to know by building scenes that cater to it. For example, imagine a jerk character in our story who is dating two women, Alice and Shai. Neither is aware of the other, which is just how Logan wants to keep it. But in an epic goof, he asks them both to meet him for dinner at the same restaurant on the same night.

When the women arrive (at the same time, of course), that’s conflict. When they both cross the room, unaware they’re meeting the same man, that’s tension.

Tension draws readers in by causing them to mentally ask questions:

Will the women find out Logan’s dating them both?

Will he worm his way out of it somehow?

What will the women do?

Will there be a big blowout?

Strong tension follows a pattern of pull-and-release—meaning, you let the tension build until it reaches its peak then resolve it by answering some of those unspoken questions.

Read the rest over at Jane Friedman’s blog…

Reblog: The Mystery Box Is Broken — Justin Kownacki

Today’s reblog is courtesy of Justin Kawnacki, who discusses the “mystery box” style of storytelling, as popularized by J.J. Abrams and the show LOST. This kind of storytelling has driven many of the biggest successes on TV and streaming in the last decade or two.

Still, shows like LOST and Game of Thrones prove that just because you can capture audience attention with this formula, it isn’t necessarily easy to wrap up these shows in a satisfying way, or even in a way that avoids outright enraging your audience.

In the case of Lost, those myseries were compelling questions like: Who are all these people? Where are they? Why are they there? (When are they there?) How did their plane crash? How will they survive? What unseen force is behind all of this? Who can we trust?

In the Abrams formula for storytelling, more mysteries = better stories, because every new answer creates more new questions. This means the audience will keep coming back to scratch their intellectual itch, and spread the word about the mysteries in the process.

To be fair, in the case of Lost and other stories that have used this model — including Game of Thrones, Westworld, and nearly every Christopher Nolan film — he’s mostly right. Audiences do love mysteries, and they enjoy trying to piece hidden clues together in order to see if they can figure out the ending before everyone else does.

But: a mystery is not necessarily a story.

In theory, there’s nothing wrong with using the Mystery Box as a storytelling tool.

The problem is the way it’s been used, and the troubling effect it’s had on audiences.

Let’s take a look at the impact of the Mystery Box on pop culture, and then consider one tweak to the formula that could fix nearly everything that’s wrong with it.

Read the rest over at Justin Kownacki‘s blog…

Reblog: Write Small for a Bigger Impact — Joe Ponepinto

Today’s reblog comes from Joe Ponepinto, who reminds us that great fiction often tackles big, heady issues, but it doesn’t necessarily place them front and center. Instead, it forces us to infer that meaning from much smaller details. Fiction is a game of synecdoche, where the minute and the mundane must be representative of bigger, broader ideas.

Writers have to recognize and accept an essential artistic paradox that the more specific and individual things become, the more universal they feel.

That’s from an essay written by Richard Russo a couple of decades ago. I’ve been thinking about it a lot lately as I read stories in the submission queue, especially those by newer writers. I can tell they want to say something profound in their fiction. Why not? If you can write something that makes readers take notice, that makes them sit up from their reading and say, “Wow, that’s so true,” it could mean publishing success is not far off.

But many writers go about it the wrong way. Since they want to say something big and universal, they tend to write their stories in the universal. They create settings and characters that adopt the traits of universal subjects, which is to say they become flat and generalized, homogenized into composites. Sometimes the characters in such stories seem written to represent a particular side in a philosophical or social discussion. In reality, though, those “big” topics are so complex and nuanced that they can’t be described efficiently and adequately enough in a short story. The result then is a narrative filled with characters and scenes that don’t connect with readers, and a message that sounds artificial and predictable.

Read the rest over at Jane Friedman’s blog…

Reblog: Get the Big Things Right — Nathan Bransford

Today’s reblog comes from Nathan Bransford, who has worked as an agent, author, and now freelance editor and consultant. He knows that there is a lot of side-work that comes with publishing—from query letters and synopses to promotion and marketing. It’s easy to get overwhelmed by all the things that come with writing, but aren’t actually writing.

He gives us a reasonably-sized list of things to focus on when writing and selling a book:

Particularly in this day and age when so many authors are lost in the weeds of Amazon algorithms and marketing strategies and social media and querying etiquette, it’s shocking to me how many people forget this: it all starts by writing a book that people want to read.

And not just want to read: writing a book that makes other people press it into other people’s hands so they’ll read it too.

That’s it. That’s by far (BY FAR) the most important thing.

Unfortunately, it’s also really, really, really hard to do, which is why it’s tempting to focus on things that are easier and feel more in your control.

Read the rest over at Nathan Bransford’s Blog…

Reblog: Why Plots Fail — Tiffany Yates Martin

Today’s reblog comes from Tiffany Yates Martin over at Jane Friedman’s blog. She discusses some reasons why plots can fail, because the important components aren’t working in harmony.

Many authors embark on a new manuscript with one of two common inspirations: a great idea for a plot, or a fascinating character and situation.

Both can be good springboards for story, yet without more development, each may result in stories that peter out, dead end, or get lost in rabbit holes (especially during the breakneck pace of NaNo).

Plots most commonly fail when:

  • they’re approached as an isolated element of story, a series of interesting events for authors to plug their characters into, or
  • when interesting characters are randomly loosed into an intriguing situation with no specific destination or purpose.

Read the rest on Jane Friedman’s blog…

Reblog — How to Be a Professional Author… — Chuck Wendig

Alright, the full title of today’s reblog is “How to Be a Professional Author and Not Die Screaming and Starving in a Lightless Abyss.” Hyperbole is Wendig’s brand. This is also a two-for-one deal, because Chuck takes as his inspiration Heather Demetrios’ Medium post, “How to Lose a Third of a Million Dollars Without Even Trying.”

Heather was a debut author who had some success early on, and made the mistake of assuming that would equate to the authorial equivalent of a steady paycheck. She found out the hard way that one or two big advances do not necessarily mean that subsequent novels will fetch the same amount of money, especially for new authors.

Most authors write for the joy of the art. Unfortunately, if you also want to make a living with your art, business savvy becomes a significant concern. Most professional authors make a fairly modest income, and it doesn’t come in the form of twice-monthly paychecks or health insurance.

Demetrios advice comes in the form of a list of regrets, in the hopes that other authors won’t make the same mistakes she did. Wendig adds his own rambling advice as a successful professional writer with quite a few years’ experience.

I feel deeply for the writer, because this shit we do comes with no real map. No creative map, no story map, no industry map, no money map. “HERE IS A BUNCH OF MONEY,” a sinister shadowy figure says in an alley. “IN SIX MONTHS, WE WILL EXTRACT FROM YOU A BOOK, AND THEN THE DEAL IS COMPLETE.” And then the shadowy figure is gone, and all you’re left with is the crisp smell of burning paper and a mysterious whisper in the well of your ear that says, “deckle edge.”

But, the good news is, there exist answers to a lot of these conundrums, and so I’m going to do some painting-with-shotguns here and try to broad-stroke some thoughts and answers about the challenges this writer faced in her Authorial Journey.

Read the rest over at Wendig’s blog, TerribleMinds…

Reblog: So You’ve Decided to Unfollow Me — Cory Doctorow

In today’s reblog, the insanely prolific author, blogger, tweeter, speaker, etc. Cory Doctorow gets a little misty-eyed for the days of yore, when the internet was all about finding the little corners where people liked the same things you liked and you all could collectively geek-out over it.

Doctorow is of the opinion that the rise of social media, cross-site user tracking and online advertising empires drew people away from many of those hidden corners of the internet and encouraged websites to cast the widest-possible nets, seeking sheer number of views over engaged communities.

Whether or not you believe that narrative, it does seem like we’ve lost some of that early internet magic. Doctorow is here to remind us that we don’t have to try to please everyone. We don’t have to chase those big, but barely-engaged viewer numbers. It’s better to build that little corner of the internet that’s all about the thing you love. It’s better to get together with a few people who also love that thing.

It’s hard to overstate how liberating the early years of internet publishing were. After a century of publishing driven by the needs of an audience, we could finally switch to a model driven by the interests of writers.

That meant that instead of trying to figure out what some “demographic” wanted to read about, we wrote what we wanted to read, and then waited for people who share our interests to show up and read and comment and write their own blogs and newsletters and whatnot.

[…]

In the golden years of internet publishing, the point was to find the weirdos who liked the same stuff as you. Freed from commercial imperatives, the focus of the blogosphere was primarily on using your work as a beacon to locate Your People, who were so diffuse and disorganized that there was no other way to find them.

That’s the dynamic behind the explosion of fandoms and fanfic, behind esoteric maker communities and weird collector rabbit-holes, behind conspiratorialism and fringe politics and the whole loompanic wonderment of it all.

Read the rest over on Cory Doctorow’s Medium site

Reblog: 7 Writing Tips from Dune — Justin Kownacki

Dune was one of my favorite movies of the past couple years. The book is a sci-fi classic with clear opportunities for a blockbuster Hollywood treatment, but over the decades we’ve only gotten a couple…flawed…attempts to adapt it to the large and small screen.

For me, the Denis Villeneuve movie finally hit that sweet spot where it follows the book, but isn’t afraid to make the story its own. All the pieces fit together. It feels like Dune. I can’t wait for part 2 to release.

I found Justin Kownacki’s blog recently, and I love the way he digs deep into storytelling. In this article, he provides a phenomenal analysis of Villeneuve’s Dune, and points out several elements that make it work so well.

Special effects aren’t the only reason why Frank Herbert‘s 1965 sci-fi novel Dune has been so notoriously hard to adapt for film or TV. The first book in Herbert’s epic saga introduces readers to a complex story world that spans across multiple planets, political conflicts, alien technologies, and secretive religions. Squeezing it all into one film — even at 2.5 hours long — was always going to be a tough job.

The 2021 adaptation of Dune by writer-director Denis Villeneuve and screenwriters Eric Roth and John Spaights solves this problem by cutting the story of the Dune novel in half. Although this choice angered some critics who feel like the movie “just ends in the middle of the story,” it actually ends at a point that satisfies the script’s central question. So while this choice may not be satisfying in the traditional “what happens next” sense, it does work in the “what change is this film trying to document” sense.

But in order for Dune to work at all, its screenwriters had to tell a lot of story at a relatively brisk pace. (In fact, while I thought pacing was one of the places where Villeneuve’s Blade Runner 2049 fell short, I’d say he just about nails it in Dune.)

So, why does Dune work so well as an adaptation?

Let’s look at seven ways Villeneuve, Roth, and Spaights solved some of the biggest problems in any epic adaptation: exposition, story structure and the pace of information.

Check out the rest over at Justin Kownacki’s blog!

Reblog: Why It’s Important To Finish Your S**t — Chuck Wendig

Have you started a writing project, only to feel your enthusiasm wane partway through? Do you find yourself with notebooks or folders full of half-baked ideas? Are you thinking about putting aside the current thing for a much more exciting thing you just thought of, right now?

Well, Chuck Wendig is back with a motivational and deeply bizarre rant/list of eight reasons why you should finish the thing you started.

Point is: whether you’re doing NaNoWriMo or not, I want to remind you:

It is vital that you learn to complete what you begin.

Finish. Your. Shit.

I know. You’re stammering, “Guh, buh, whuh — but I’m not really feeling it, I have a better idea in mind, it’s hard, I think I’d rather just lay on my belly and plunge my face into a plate of pie.”

I’d rather do that, too.

I mean, c’mon. Prone-position face-pie? Delicious. Amazing. Transformative.

[…]

Here’s why I think it’s essential to learn how to finish what you begin when it comes to writing, no matter how much you don’t want to, no matter how much you’re “not feeling it,” no matter how much pie you have placed on the floor in anticipation of laying there and eating it all.

(If you’re not familiar with Wendig and are squeamish about cursing, violent imagery, or deeply weird metaphors, be aware that this post contains quite a lot of all of those things.)

Check out the rest on Wendig’s blog, Terrible Minds…