Mary Davis's Blog - Posts Tagged "advice"
Writing tip #4
"To create empathy for a character (including the antagonist), take the time to humanize them through their actions. Even the most unlikable person has a redeeming quality, so show it to the reader in a small, subtle way."
From The Emotion Thesaurus: A Writer's Guide to Character Expression by Angela Ackerman & Becca Puglisi
From The Emotion Thesaurus: A Writer's Guide to Character Expression by Angela Ackerman & Becca Puglisi
Writing tip #5
“Pay special attention to the events leading up to an emotional response. If plotting feels contrived, the character’s reaction will seem contrived as well.”
From The Emotion Thesaurus: A Writer's Guide to Character Expression by Angela Ackerman & Becca Puglisi
From The Emotion Thesaurus: A Writer's Guide to Character Expression by Angela Ackerman & Becca Puglisi
Writing Tip #10: Symbolism
"Symbolism can turn an ordinary object (or place, color, person, etc.) into something that goes beyond the literal. Babies represent innocence and unlimited potential, spring is synonymous with rebirth, shackles symbolize slavery, the color white brings to mind purity.
Symbols like these are considered ‘universal’ because the associated meaning is so well known within a culture or society. As such, using universal symbols in fiction means writers can deliver a deeper message without having to state it outright. Not only that, symbols tighten description, too. By its very nature, if something is understood to be symbolic, it’s conveying something more.
A symbol can also be personal in nature. This is where it means something specifically to a character or specific group.
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So whether the symbol is universally obvious or one that’s specific to the protagonist, it can add a layer that draws readers deeper into the story." - Angela Ackerman
https://writershelpingwriters.net/202...
Symbols like these are considered ‘universal’ because the associated meaning is so well known within a culture or society. As such, using universal symbols in fiction means writers can deliver a deeper message without having to state it outright. Not only that, symbols tighten description, too. By its very nature, if something is understood to be symbolic, it’s conveying something more.
A symbol can also be personal in nature. This is where it means something specifically to a character or specific group.
...
So whether the symbol is universally obvious or one that’s specific to the protagonist, it can add a layer that draws readers deeper into the story." - Angela Ackerman
https://writershelpingwriters.net/202...
Writing Tip #12: Setting the Setting
"Plot and characters tend to get all the glory, but each scene has a secret superpower to make it successful. Yep, we’re talking about the setting! The location for each scene should be so much more than a “backdrop” for the action. Used properly, it can become an active participant that deepens the story moment."
- Angela Ackerman and Becca Puglisi, https://writershelpingwriters.net/wor...
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"Sometimes in our enthusiasm to draw readers into the scene, we go a little crazy when it comes to describing. Trying to convey every feature, every angle, every facet of the setting will not only smash the pace flat, it will likely cause the reader to skim. And, if they skim, they are missing all that great description you’ve worked so hard to include. So, to avoid over-describing or focusing on the wrong details, try to make each bit of description earn the right to be included."
- Angela Ackerman, https://writershelpingwriters.net/202...
- Angela Ackerman and Becca Puglisi, https://writershelpingwriters.net/wor...
...
"Sometimes in our enthusiasm to draw readers into the scene, we go a little crazy when it comes to describing. Trying to convey every feature, every angle, every facet of the setting will not only smash the pace flat, it will likely cause the reader to skim. And, if they skim, they are missing all that great description you’ve worked so hard to include. So, to avoid over-describing or focusing on the wrong details, try to make each bit of description earn the right to be included."
- Angela Ackerman, https://writershelpingwriters.net/202...
Writing Tip #13: Immersing the Reader (Part 1)
"Remove Filter Verbs
...Filter verbs (sometimes called distancing verbs) are sensory verbs like look, smell, hear, taste, feel, think. (Note: variations on these words also count, such as see, listen, notice, wonder, etc.).
Example: He smelled maple syrup and thought of the last time Dad took him to breakfast.
Instead, try: The sweetness of maple syrup took him back to that booth at the diner, sitting across from Dad.
Example: She peered into her boss’ empty office and wondered why he was gone so much lately.
Instead, try: Her boss’ office was empty yet again.
See the difference? We are inside the characters’ senses in a far more bold and confident way."
- Marissa Graff, https://writershelpingwriters.net/202...
...Filter verbs (sometimes called distancing verbs) are sensory verbs like look, smell, hear, taste, feel, think. (Note: variations on these words also count, such as see, listen, notice, wonder, etc.).
Example: He smelled maple syrup and thought of the last time Dad took him to breakfast.
Instead, try: The sweetness of maple syrup took him back to that booth at the diner, sitting across from Dad.
Example: She peered into her boss’ empty office and wondered why he was gone so much lately.
Instead, try: Her boss’ office was empty yet again.
See the difference? We are inside the characters’ senses in a far more bold and confident way."
- Marissa Graff, https://writershelpingwriters.net/202...
Writing Tip #14: Immersing the Reader (Part 2)
"Eliminate Time Words
Yes, it’s important to orient your reader with passage-of-time phrases, particularly when there’s a gap in time to account for (the next day, later that evening, the following week, etc.). But in terms of time movement within an active scene, consider cutting words like then, next, after that, finally, and when.
Example: When they climb into the car, their face is scrunched up in anger.
Instead, try: They climb into the car with their face scrunched up in anger.
Example: As soon as I walk into the house, I jog upstairs and then answer my phone.
Instead, try: I walk into the house, jog upstairs, and answer my phone." - Marissa Graff, https://writershelpingwriters.net/202...
Yes, it’s important to orient your reader with passage-of-time phrases, particularly when there’s a gap in time to account for (the next day, later that evening, the following week, etc.). But in terms of time movement within an active scene, consider cutting words like then, next, after that, finally, and when.
Example: When they climb into the car, their face is scrunched up in anger.
Instead, try: They climb into the car with their face scrunched up in anger.
Example: As soon as I walk into the house, I jog upstairs and then answer my phone.
Instead, try: I walk into the house, jog upstairs, and answer my phone." - Marissa Graff, https://writershelpingwriters.net/202...
Writing Tip #15: Immersing the Reader (Part 3)
Minimize Internal Dialogue
"Notice how I said minimize—not cut—internal dialogue. Novels can and should include internal dialogue. There are times where, without it, the reader would be lost.
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But it’s important to imagine your scenes like a coil that you are working to tighten, word by word. Each time we step away from dialogue or external action, that coil threatens to lose tension.
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Some questions to ask as you reevaluate your own usage of internal dialogue:
*It is otherwise impossible to show what’s been told via action and/or dialogue?
*Does it let us know feelings or thoughts the character is hiding from everyone else?
*Is it brief?
That last one is crucial. The longer internal dialogue goes, the more that coil you work to tighten starts to unwind. Author Tim Wynne Jones has referred to long swaths of internal dialogue as Pause Button Violations. Within an active scene, it’s as though the author hits the pause button on all action and dialogue to allow for the internal dialogue. The pause is unnaturally long given the fact that it sits inside an active scene, and can oftentimes be done in a far shorter way or be done using dialogue and action on the page instead."
- Marissa Graff, https://writershelpingwriters.net/202...
"Notice how I said minimize—not cut—internal dialogue. Novels can and should include internal dialogue. There are times where, without it, the reader would be lost.
...
But it’s important to imagine your scenes like a coil that you are working to tighten, word by word. Each time we step away from dialogue or external action, that coil threatens to lose tension.
...
Some questions to ask as you reevaluate your own usage of internal dialogue:
*It is otherwise impossible to show what’s been told via action and/or dialogue?
*Does it let us know feelings or thoughts the character is hiding from everyone else?
*Is it brief?
That last one is crucial. The longer internal dialogue goes, the more that coil you work to tighten starts to unwind. Author Tim Wynne Jones has referred to long swaths of internal dialogue as Pause Button Violations. Within an active scene, it’s as though the author hits the pause button on all action and dialogue to allow for the internal dialogue. The pause is unnaturally long given the fact that it sits inside an active scene, and can oftentimes be done in a far shorter way or be done using dialogue and action on the page instead."
- Marissa Graff, https://writershelpingwriters.net/202...
New to Writing? Tip #1 of 7!
"1. Write
Sure, this seems obvious, but starting can be paralyzing. We worry about committing our ideas to the page because what if they resemble some four-year-old’s Cheerios-and-glue “masterpiece”? Well, guess what? They might, and that’s okay. Great storytelling takes time, and if that didn’t put off Stephen King, Susanne Collins, or Nora Roberts, it shouldn’t stop us, either." - Angela Ackerman, https://www.helpingwritersbecomeautho...
Sure, this seems obvious, but starting can be paralyzing. We worry about committing our ideas to the page because what if they resemble some four-year-old’s Cheerios-and-glue “masterpiece”? Well, guess what? They might, and that’s okay. Great storytelling takes time, and if that didn’t put off Stephen King, Susanne Collins, or Nora Roberts, it shouldn’t stop us, either." - Angela Ackerman, https://www.helpingwritersbecomeautho...
New to Writing? Tip #2 of 7!
"Read and Reread
Reading is so enjoyable we tend to forget how each story is a treasure trove of education on what makes a book good, bad, or off-the-charts great. So read widely, thinking about what makes each story compelling.
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Studying where you fell under the storyteller’s spell can help you see how you can do the same for your readers." - Angela Ackerman, https://www.helpingwritersbecomeautho...
Reading is so enjoyable we tend to forget how each story is a treasure trove of education on what makes a book good, bad, or off-the-charts great. So read widely, thinking about what makes each story compelling.
...
Studying where you fell under the storyteller’s spell can help you see how you can do the same for your readers." - Angela Ackerman, https://www.helpingwritersbecomeautho...
New to Writing? Tip #3 of 7!
"Join a Writing Group
One of the best things you can do at the start of this journey is find others on the writer’s path. A community of writers puts you in touch with those who have the same goal, meaning you can learn from and support one another. Plus, having creatives in your circle helps to keep you accountable, meaning your butt stays in the chair and words get written." -Angela Ackerman, https://www.helpingwritersbecomeautho...
One of the best things you can do at the start of this journey is find others on the writer’s path. A community of writers puts you in touch with those who have the same goal, meaning you can learn from and support one another. Plus, having creatives in your circle helps to keep you accountable, meaning your butt stays in the chair and words get written." -Angela Ackerman, https://www.helpingwritersbecomeautho...
