#fictiontips

[brainstreams]

[thewriteadviceforwriters]

✨ new post just dropped over on @.thewriteedvice ✨

➡️ “Hot Takes That Make You a Better Writer (Probably)”

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A post shared by TheWriteEdvice | Writing Tips | Writer Coach (@thewriteedvice)

this one’s for the writers who: – are beefing with their WIP – lowkey know their pacing sucks – keep rewriting chapter one but it still feels like drywall

🔗 it’s up on IG (@thewriteedvice) now - go save it, scream in the comments, and maybe apologize to your protagonist while you’re at it 💌

[rwhague]

3 Things Not To Do To Your Hero

When you write your story, you enter the mind of someone else—someone fictional, but I assure you, they feel more real than some of the people around you. Describing that person and putting their thoughts onto a page invites a reader to join you in this experience. That being said, if you want your reader to continue with your story and not chuck it across the room, there are a few ‘guidelines’ you are going to want to follow if your reader is supposed to root for your hero.

Unforgivable Sins

Readers can forgive many sins of your characters. In fact, flawless characters are rarely interesting. Even murder can be forgiven by your readers if done right. There are, however, some unforgiveable sins. Hurting animals is one. And I don’t mean Old Yeller style or To Kill a Mocking Bird style where the dog has rabies or some irreversible illness and needs to be put down. I mean killing a dog for the sake of killing it, or hurting animals in general. This is something that your villain might do—and your audience will hate them all the more. But if your hero is the perpetrator, that’s a sin many of your readers will not forgive.

Another unforgivable sin is the hurting of children. If your protagonist strikes a child, forget it. Credibility to their good nature is completely lost. Now, there have been incidents where a child is killed, but it has to be in the heat of the moment or by accident. Think about a war scene where a soldier is clearing houses and accidently shoots a child. Usually, this memory haunts them for the duration of the story as they live with remorse for what they did. If they intentionally kill or strike a child, however, they are not your hero. They are you villain.

Did you know that in the original mythology, Hercules kills his wife and children in a rage? How do you feel about him now? Yeah, that’s how your readers will feel about your character. Don’t do it.

Personality Changes

I was watching the TV show Ratched the other night on Netflix, and was captivated by the main character. Mildred Ratched is deliciously evil, but ***Spoiler Alert*** halfway through the season, she has a massive personality shift. Suddenly, she’s not the anti-hero, but the victim and the sympathetic protagonist. I finished the season, but I won’t pick up season 2.

Now, the writers tried to back-pedal and say that she was just trying to save her brother, and therefore did all of those evil things. Here’s the thing, though: Mildred performed a craniotomy on an innocent person, practically turning him into a vegetable. That’s an unforgivable sin. But nonetheless, they try to explain it all away with a sympathetic story and proceeded to tell the story as if she is now the hero instead of the anti-hero. Sorry, but I’m not biting. You took an interesting character and killed her. Thank you and good night.

Put Protagonist on the Backburner

Imagine if halfway through the hunger games, Peeta shoved Katniss to the side, took her bow and arrows, and killed all the baddies? Katniss would no longer be the heroine we know and love. If you have read my previous posts concerning POV, you will see why most agents/publisher’s prefer 3rd person limited view. It helps keep your protagonist in the center of the action.

A good protagonist is not a passive part of the story, but an active part. This means he/she is making decisions to push the plot forward. Think of Katniss volunteering as tribute. She makes that choice. She chooses to pull out the berries. She is an active participant in the novel, not just a passive pawn that is moved across the board.

 This is a list of three things not to do to your hero. My next post will be about ideas to do to your hero.

[brainstreams]

[carriejonesbooks]

Rebel Reading the Hobbit & Talking Head Syndrome

A lot of time I’ll be reading scenes in books and it will be two characters talking and I’ll only have a vaguely general idea about where they are. Maybe I won’t have an idea at all. We call this evil beast the talking heads syndrome. 

Cue scary music here. 

WHAT IS TALKING HEADS SYNDROME?

No, it’s not about the iconic 1980s group. Sorry!

It’s where there’s a lot of dialogue…

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[carriejonesbooks]

Writing Tip Wednesday: Am I Too Quiet?

Writing Tip Wednesday: Am I Too Quiet?

When you’re a little kid, people praise you for being quiet. They don’t want you to be interrupting and shouting and all that crud because they are adults and there are rules and so on.

But when you’re a writer, you start to get worried that you’re too quiet, that your books are quiet books.

What does that EVEN mean?

A quiet book tends not to be a book that has a ridiculously…

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[emperornutmeg-blog]

Writing a Non-Cringey Kiss Scene

So, you want to write some steamy, respectable romance?

To christen my blog, and to start of right in the name of (eugh) Valentine’s Day, I thought I’d start with some tips on writing a love scene! 

(Whoa, pal -- not those kind of love scenes. Get your head out of the gutter.)

Anyone who has ever read fan fiction, or even just bad fiction, has no doubt read something like this: 

Johnny arrived under the bleachers to see Marisa standing there, the moonlight streaming through the metal seats and giving her a striped complexion. 

“What're you up to?” Johnny asked, approaching her with a half-smirk on his face despite how nervous he felt. 

“Oh Johnny,” Marisa moaned, taking his hands. “Just kiss me, you fool!” 

Johnny was still nervous, but he took Marisa in his arms and pulled her close. “You bet, pretty mama,” he whispered, before planting his lips onto hers. They proceeded to make out all night long. 

Yeah, okay, so this is incredibly, painfully, overly-bad -- but why was it bad (other than the fact that Johnny Bravo made a surprise appearance)? Disregarding the fact that we don't know anything about these characters so far, what makes this scene that I just wrote so boring and unpleasant to read? 

Okay, I’ll stop asking obnoxious rhetorical questions: the reason is because there's literally nothing written about how these character’s feel — and I’m talking physically. 

If there’s one thing humans are generally infamously bad at, it’s being empathetic and taking the emotions of other’s seriously. So the only way to write love scenes in a way that will be taken seriously by readers is to literally express to them exactly how your character’s feel, physically. This kickstarts the empathetic reaction. 

This is often called showing instead of telling, but it goes by many names. Basically, its the difference between:

Johnny was nervous

and:

 Johnny’s hands trembled at his sides as sweat ran down the back of his neck. Any second now, he was sure his legs would give out. 

This is the key to writing emotional scenes your readers will take seriously. Watch what happens to the previous scene if it’s written with more showing and less telling. 

Johnny arrived under the bleachers to see Marisa standing there, the moonlight streaming through the metal seats and giving her a striped complexion.

“What're you up to?” Johnny asked, approaching her. His heart sped up in his chest as he realized that they were entirely alone, and a half-smirk grew on his face to mask the fact that his lips were trembling.

They stood a foot apart from each other for a moment, and an itching frustration began to fester in Marisa’s throat. 

“Oh Johnny,” Marisa moaned, taking his hands. She was tired of waiting for him to make a move. “Just kiss me, you fool!”

Ignoring the swirling of his lunch in his stomach, Johnny took Marisa in his arms and pulled her close to him. “You bet, pretty mama,” he whispered, before planting his lips onto hers. Happiness bloomed inside of his chest. 

Okay. So, it’s still pretty bad. But it’s so much less bad, that even despite some pretty god-awful dialogue, it was still compelling -- and that’s because when we are focused enough on how we are physically feeling, nothing else actually needs to make sense. Because, ya know, we humans are such sophisticated and intellectual human beings. 

Here is a list of some physical descriptors that can be used to make readers feel the emotion that your characters are:

Nervousness

trembling hands

sweating profusely

shaky or cracking voice

nausea/churning stomach

Anger

trembling hands

raised voice

slamming something on a table

breathing heavily

Fear

trembling hands (are you noticing a pattern?), or perhaps the whole body

hyperventilation

 darting eyes

Sadness

sniffling

eyes prickling with tears

mumbling words

wailing

hugging oneself

Happiness

smiling or laughing

~ Good luck! ~