BWFoster78
Myth Weaver
Here are my set of rules for you (I duck a brick thrown by Christopher Wright). Actually, it’s not a list of rules, just wanted to get the brick thing in.
I made this list to help me internalize some of the comments I’ve gotten from one member of my writing group. He’s helped my writing improve more than anyone else. I thought maybe some others might gain some benefit from it as well.
1. Set the scene. My first attempts at stories had almost no reference to the setting. I wrote what happened in the scene but didn’t give any descriptions of the surroundings. I’m not even sure I fully visualized it. It’s important, however, that the reader be able to see what’s happening. Now, I try to think of it like the backdrop of a play. Give the reader the important details: a cardboard tree and a few props allow them to imagine they’re there. I’m still not great at this yet and often he has to point out where I’ve failed to fully develop it as necessary. I am, however, starting to be able to spot this deficiency in other’s writing. It’s only a few short steps from that point to getting better at finding it in my own.
2. Be active. The first time I went to writing group, wases filled my work. In a 1500 word segment, I think he circled more than fifty uses. I’m better at this now. I only use the dreaded word when I can’t find a way around it.
3. Don’t be redundant and say the same thing twice.
This is an actual sentence from my WIP: Xan told them most of the story, leaving out only… On his advice, it became simply: Xan left out… I catch these most of the time.
4. Clearly state what’s physically happening. My overriding principle seems to be: eliminate unnecessary words. It’s great advice, but sometimes I get rid of the necessary ones. The reader needs to be able to follow the flow of action. I need to be clearer in communicating it to them instead of leaving too much for their interpretation. I also need to do a better job of visualizing the scene. Recently, he told me he didn’t like how my character reacted to a shadow of a falling object. I actually went in my back yard and threw a beach ball high above me in a situation much like my character’s. After watching the shadow of the ball, I described the scene in better, more accurate, detail.
5. Get in the character’s head. In third person, it’s much harder to relate emotions. He’s helped me by adding a lot of little phrases that ramp up the reader’s access to the protagonist’s mind even without internal dialogue. Describing watery eyes and trembling lips are details that help establish the tone.
6. Make dialogue more personal. I tend to write sentences like this one: “Let’s have Dylan take point today.” His version is better: “I want Dylan to take point today.” I’m struggling with this as the difference is important but subtle.
7. Add action to dialogue. I suck at this. In my version, my characters nod heads and raise eyebrows. He helps me have them thrust fists into tables.
I made this list to help me internalize some of the comments I’ve gotten from one member of my writing group. He’s helped my writing improve more than anyone else. I thought maybe some others might gain some benefit from it as well.
1. Set the scene. My first attempts at stories had almost no reference to the setting. I wrote what happened in the scene but didn’t give any descriptions of the surroundings. I’m not even sure I fully visualized it. It’s important, however, that the reader be able to see what’s happening. Now, I try to think of it like the backdrop of a play. Give the reader the important details: a cardboard tree and a few props allow them to imagine they’re there. I’m still not great at this yet and often he has to point out where I’ve failed to fully develop it as necessary. I am, however, starting to be able to spot this deficiency in other’s writing. It’s only a few short steps from that point to getting better at finding it in my own.
2. Be active. The first time I went to writing group, wases filled my work. In a 1500 word segment, I think he circled more than fifty uses. I’m better at this now. I only use the dreaded word when I can’t find a way around it.
3. Don’t be redundant and say the same thing twice.
This is an actual sentence from my WIP: Xan told them most of the story, leaving out only… On his advice, it became simply: Xan left out… I catch these most of the time.4. Clearly state what’s physically happening. My overriding principle seems to be: eliminate unnecessary words. It’s great advice, but sometimes I get rid of the necessary ones. The reader needs to be able to follow the flow of action. I need to be clearer in communicating it to them instead of leaving too much for their interpretation. I also need to do a better job of visualizing the scene. Recently, he told me he didn’t like how my character reacted to a shadow of a falling object. I actually went in my back yard and threw a beach ball high above me in a situation much like my character’s. After watching the shadow of the ball, I described the scene in better, more accurate, detail.
5. Get in the character’s head. In third person, it’s much harder to relate emotions. He’s helped me by adding a lot of little phrases that ramp up the reader’s access to the protagonist’s mind even without internal dialogue. Describing watery eyes and trembling lips are details that help establish the tone.
6. Make dialogue more personal. I tend to write sentences like this one: “Let’s have Dylan take point today.” His version is better: “I want Dylan to take point today.” I’m struggling with this as the difference is important but subtle.
7. Add action to dialogue. I suck at this. In my version, my characters nod heads and raise eyebrows. He helps me have them thrust fists into tables.
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Auror
Sage
