Nancy Kress Quotes
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Even if your novel occurs in an unfamiliar setting in which all the customs and surroundings will seem strange to your reader, it's still better to start with action. The reason for this is simple. If the reader wanted an explanation of milieu, he would read nonfiction. He doesn't want information. He wants a story.
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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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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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Without coffee, nothing gets written. Period.
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You do not have to dramatize everything. In fact, you usually can't, not without ending up with a half-million-word novel.
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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 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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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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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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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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How many times have you opened a book, read the first few sentences and made a snap decision about whether to buy it? When it's your book that's coming under this casual-but-critical scrutiny, you want the reader to be instantly hooked. The way to accomplish this is to create compelling opening sentences.
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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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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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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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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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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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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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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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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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As a writer, you must know what promise your story or novel makes. Your reader will know.
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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.