Description enables the reader to experience the “fictional dream”, being pulled into a story so deeply that it becomes more real than the chair the reader sits on. Description is the language used to bring attributes of a thing or person to the reader’s mind. It makes impressions, using all the senses. It is also known as word painting.
Symbolism emotionally sways the audience by providing hidden language within the story with highly concentrated meaning. It’s the most focused condenser-expander storytelling technique in the toolbox. Create a web of symbols, each helping to define the others, for maximum power.
Get feedback from your support group before submitting your work. These are your objective eyes.
The basics first: “He/she said” is the basic modifier. Dialogue tells us what is said, attribution tags tell us who said it and modifiers tell us how it was said. These are the aspects we deal with here, adverbs (he said happily) are a matter for concern in a different article.
Define the story world by dramatizing the visual oppositions, similar to how you define support characters in the web that populates the world. The world can contain several sub-world.
Writing the action scene. Growing up in our cosy modern day lives, it’s easy to forget how natural and common violence truly is. People use violence, simply because it works.
Scenes unfold in seemingly real time, while exposition fast-forwards. Meanwhile, time passes in the story world. Each season comes with its own rituals.
A story is a communication that expresses an artistic description of how a person can grow or evolve. It follows a specific structure of seven organic steps taken with human change.
Trimming the cast every now and then will help clean up your story. This section explains how to check your cast and trim the characters who are not adding to the story.
The six deadly mistakes of beginner writers and how to fix them. 1 Thinkbefore character. 2 Writing about undefined, underdeveloped characters.
The denouement is everything that follows after the climax, with one purpose: to wrap up the story. Readers now crave two things. First, a final reactionary scene to show the consequences of theand the fate of the characters. Second, answers to all remaining story-questions.
Beginnings explain who the story is about and how they got into the story-worthy problem situation. First we see ourin his ordinary world (however not-ordinary this world may be for the reader, it’s normal life for him.)
Act II is the major part of the novel. It is the confrontation, a series of battles between the Lead and the opposition. The variousstrands weave in and out of one another, creating a feeling of inevitability while at the same time surprising the reader in various ways.
Characterization of character gives him fullness, substance and individuality.
Just when you’ve come up with an idea, you hear about a book/play/film/whatever that has nearly the exact same. You’re devastated, thinking you need to abandon your idea and seek a new one. You’re wrong.
Exposition is the tendon that keeps the muscle attached to the bone. It links the scenes to theskeleton and keeps your story from becoming disjointed.
The flash-back golden rule: Memories are not for reminiscing. They serve to navigate the present. Break it up in little pieces, spread it around naturally. Here’s when and how!
When you’re writing, you’re all over the place in creativity and flow. When you’re rewriting, you are tidying up, restoring the order so your writing stays on track. Rewriting: reworking elements of the story to make it more immediate and dramatic.
A common mistake for any writer to make, is to believe every written line must be genius and perfected from the start. Creating fictional reality is messy.
Immersive writing: here are the essential ingredients to immersive writing, creating the fictional dream that turns a story into a page turner.