Nancy Kress Quotes
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Readers want to visualize your story as they read it. The more exact words you give them, the more clearly they see it, smell it, hear it, taste it. Thus, a dog should be an 'Airedale,' not just a 'dog.' A taste should not be merely 'good' but 'creamy and sweet' or 'sharply salty' or 'buttery on the tongue.'
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The climax is the place where the opposing forces in your story finally clash. This is true whether those opposing forces are two armies or two values inside a character's soul.
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Slipstream fiction is usually defined as fiction with a contemporary setting in which story elements are mimetic (that is, seem real) - except for one or two eerie strangenesses. Unlike outright fantasy, these are not explained or integrated into an alternate-reality setting.
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In fiction, a reaction shot is a brief portrayal of how your character reacts to something that someone else has done. In contrast to more direct character building, your guy doesn't initiate the sequence; he completes it. Exactly how he completes it can tell readers a lot about him.
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The process, not the results, have to be the reason a writer writes. Otherwise, creating a four-hundred-page novel is just too daunting a task.
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The parallels between a stage and a book are compelling. You, like all authors, create 'characters' in a 'setting' who speak 'dialogue' encased in 'scenes.' Most importantly, you - like the playwright - have an 'audience.'
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For the professional writer, stories must be presented as a series of individual scenes, each one dramatized with dialogue and telling descriptions of who is present and what they're all doing.
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A brief short story may require only a few paragraphs after the climax. On the other hand, in his massive novel 'The World According to Garp,' John Irving's denouement consisted of 10 separate sections, each devoted to an individual character's fate and each almost a story in itself.
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Words that add no new information or aren't repeated for emphasis are just padding. A sentence may carry three or five or eight of them, each one as unnoticeable as an extra two ounces on your hips but collectively adding up to a large burden of fat.
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Pace, like everything else in writing, involves a trade-off. If you're not offering the reader a lot of action to keep her interested, you must offer something else in its stead. Slow pace is ideal for complex character development, detailed description, and nuances of style.
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Novels have much more space than short stories, which gives you more leeway with the number of characters you can include. Even 'furniture' characters can be described and given speaking parts to develop background or atmosphere.
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There are writers whose first drafts are so lean, so skimpy, that they must go back and add words, sentences, paragraphs to make their fiction intelligible or interesting. I don't know any of these writers.
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You have considerable choice in how you end your fiction. For all stories, the basic rule is the same: Choose the type of ending that best suits what's gone before.
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Should you create a protagonist based directly on yourself? The problem with this - and it is a very large problem - is that almost no one can view himself objectively on the page. As the writer, you're too close to your own complicated makeup.
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In general, fiction is divided into 'literary fiction' and 'commercial fiction.' Nobody can definitively say what separates one from the other, but that doesn't stop everybody from trying. Your book probably will be perceived as one or the other, and that will affect how it is read, packaged and marketed.
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As a writer, you must know what promise your story or novel makes. Your reader will know.
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All nonmimetic fiction is a balancing act between 'reality' and the obviously unreal, with no attempt by the author to make the latter seem like the former. Sometimes it's not an easy tightrope to walk. But when it succeeds, such fiction can brilliantly illuminate the human condition.
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For commercial books in a genre, readers' and editors' expectations may be fairly rigid. Some romance lines, for instance, issue fairly detailed writers' guidelines explaining exactly what must happen in a book they publish (and what must not).
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Overpopulated fiction can be so confusing that readers put the story down. Under-populated novels can seem claustrophobic or boring. You want the right number of characters for your particular work.
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A true epilogue is removed from the story in time or space. That's the reason it is called an 'Epilogue'; the label serves to alert the reader that the story itself is over, but we are going to now see a distant result or consequence of that story.
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Words change over time. 'Condescending,' for instance, was once a good thing to be. It meant that a person was willing to interact politely with people of lower social ranks. In Jane Austen's world, a lady praised for her condescension was receiving a sincere compliment.
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Exposition has legitimate uses. It's the most efficient way to summarize background information, including necessary information about a character's history. It can set the stage well for a major dramatized event.