Archive for February 4th, 2010

Writing Exercise for your WIP (Part Two)

Thursday, February 4th, 2010

Time to sharpen your pencils.

Last night I taught my advanced creative writing class and we discussed novel/story beginnings. I read several first lines from novels I’d read (or were on my reading to-do list) and gauged my students’ reactions. The students who wrote more…er…violent stories seemed to favor the stories that promised death. The students who wrote character driven stories enjoyed sentences hinting at the person behind the voice.

As most of us know, the first sentence…and, in fact, the first paragraph…can make or break the beginning of a novel. You want to keep the reader reading. Do not bore us with heavy setting description or give us something we can’t learn from. We want to be captured and taken away immediately.

The homework assignment? Write ten different sentences you might use  to begin your novel/story with. Be clever, silly, strange. But see if you can create interest. And, when we read them back in class, we’ll see which students think what sentences are the most intriguing.

I challenge you to go back to your WIP and create ten different sentences you could use. I’ll bet you find the perfect one to begin your novel with.

Tip for Beginning Fiction Writers Tip#2

Thursday, February 4th, 2010

Last time I wrote about how important it is to understand what genre you write in. I used that as Tip #1 because in my eyes, that’s where we begin to develop our plot….understanding what kind of story we want to tell.

Here’s tip #2: POV

POV stands for point-of-view. And it is essential to know whose POV you are using for your story. Why? Because you want to be sure to stay consistent. If your main character is a poor widow from the Bronx, don’t reach the last chapter and suddenly slide into the character of her cat, Doodles. You’ll frustrate your reader, and possibly confuse the editor or agent who will be taking a look at your book.

In order to understand POV, let’s go over the role of the narrator. I’ll make this simple as possible. 1st person is when you use “I” and “my” in the narrative voice. Ex: I followed the trail of rose petals to the front seat of my car. When I opened the door, my boyfriend was laying down in the back seat, a bouquet in his arms, sheepish grin on his face.

2nd person is when you use “you” and “yours.” Ex: You stare at your boyfriend, overwhelmed by the emotion building in your chest. If you cry, he’ll know he has you where he wants you. But if you don’t cry, he’ll call you heartless.

3rd person is when you use “he/she,” and “his/her.” Ex: Alexis shook her head, allowed the tears to slip down her cheeks. She didn’t bother to wipe them away. But could she forgive him? She wasn’t so sure.

If you choose to use 1st person, keep in mind that your readers will only know what the character knows. In my story example above, we understand that the boyfriend has a sheepish grin on his face, but we can’t know what he’s thinking or feeling, at least not with accuracy. We only have our narrator’s voice, and her explanation of how she sees things.

If you choose to use 3rd person, you can go about it in a few ways. You can use what is known as single viewpoint, which will mean it will be like using 1st person: we only know what our protagonist sees and feels. The only difference will be that we’re using “he/she” instead of “I.”

Or you can use dual viewpoints in 3rd person, and have the story told from two different people’s perspectives. Another scene in my example could be told from the boyfriend’s POV. Ex: Dave was surprised when Alexis cried. He didn’t think she had it in her. It made him kind of mad, to tell the truth. He hated not being prepared.

You can also use multiple viewpoints in 3rd person. Some authors jump from character to character within the chapter. If you choose to do this, bear in mind it’s very tricky and easy to confuse the reader. Also, be sure to develop each character. Don’t make us wonder about the character’s whereabouts or leave their wants/needs unfulfilled. More about this in another tip later on.

Last, we have the omniscient viewpoint. Here the author tells the story. The author knows all, shares all. This writing tends to create the most distance between writer and reader, so caution should be taken when using it. Also, it’s easy to fall into the pattern of “telling” versus “showing” when using this POV. Ex: At last, Alexis was able to reach out to Dave. Perhaps he was ready to take her hand, perhaps not. But he took it anyway, because what else could he do? But at least they were together. In the best way they knew how.

So choose the POV you want to use wisely. One more tip…if you’re writing a short story, keep it to one person’s POV. Not only is it easier to work with when you need to keep a story within a 3,000 word limit, but most editors tend to prefer it. With novels, you have more leeway.

My last tip: if you aren’t sure what POV you want to go with, grab five of your favorite novels and see what POV the authors used throughout their books. Was it 1st person? Multiple 3rd? Try writing from the perspective that best engaged you.

Writing the Breakout Novel Workbook

Thursday, February 4th, 2010

Author bio: Donald Maas is a literary agent. He founded the Donald Maass Literary Agency in 1980. He is past president of AAR.

Year of Publication:  2004

Still relevant?: Absolutely

Topics covered: Characterization. Conflict. How to write plots, sub-plots and plot layers. How to create an outline (worksheet included). How to up the tension in a novel. Story techniques, such as setting, the character’s inner changes, reversals and surprises.

What you will learn in this book: how to make your writing stronger and deepen your plot and its many layers.  After going through the writing exercises, you will be a changed writer. For the better. Perfect for genre fiction.

What you will not learn: How to gain a platform. Marketing strategies. How to write in  literary form. You won’t learn about symbolism or “gorgeous” writing.

Who this book is for: Someone who has come as far as they can learning the writing craft on their own. It’s like having a mentor, but one who doesn’t stop over and drink your coffee.

Personal review: This book covers almost everything there is to know about commercial/genre fiction. It needs to be read every time you feel a case of writer’s block coming on.