Here’s a great article from the Writers In The Storm blog written by guest poster Lisa Hall Wilson. Deep Point Of View can be difficult to master, but it’s a great way to learn how to show versus tell, which will strengthen your writing and draw your readers deeper into your characters and story. I hope you enjoy this article as much as I did!
When it comes to writing tips and advice, Donald Maas is a master! It’s no secret that his book, The Emotional Craft of Fiction, changed the way I viewed writing as a whole. I stumbled on this article he wrote for Writer’s Digest back in 2009 – an oldie but a goodie – and had to share!
Here’s a great article on how to pull off a killer twist a la the Queen of Mystery, Agatha Christie!
Since it’s Halloween, and I’ve been focusing on tension and suspense in my own writing, today has me thinking about fear, and how fear can be leveraged to increase tension, suspense, character development, and even setting in any genre of fiction.
If I were to ask, “What are you afraid of?” I’d probably get plenty of similar responses. For some, it’s serial killers, ax murderers, and bad people in general. For others, it’s disease, illness, or the loss of a loved one. Spiders, clowns, heights, and other phobias all have their places, and while all of these themes can be woven into any genre, what if you don’t want to focus on a specific fear, but instead invoke the feeling in general, because, let’s face it – sometimes people (and characters) – don’t know exactly what it is that they’re afraid of.
A general uneasiness of unknown cause can be crafted into scenes that create just as much tension as a character locked in a haunted house with Hannibal Lecter and a dozen sadistic, serial killing clowns.
The question is, how do you leverage fear without making it blatantly obvious?
Well, consider this – fear takes many forms and has many faces. At it’s most general, fear is anxiety. And anxiety isn’t always the enemy, especially when it’s felt by a character in a piece of fiction.
If I were to ask, “What makes you anxious?” would I get the same answer as when I asked what you were afraid of? Now what if I asked, “What makes you uneasy?”
Three different questions, all with different answers.
This is how to subtly leverage fear in your writing. Pick a different emotion or feeling and develop it. Make it grow into something more. Something, dare we say, sinister.
How do you feel about isolation? Would being in an unsettling situation by yourself be more unnerving than if you were with others? How about if others were there, friends even, but there was no cell service, basically cutting you off from the rest of the population? Now, what if you were in a location that further isolated you, like an island?
It’s a popular trope, but a good example in that it’s a situation that can also be enjoyable. On an island with friends and no cell service, nothing to do but relax, unwind, and party? Sounds like torture, right?
But that’s the fun thing about fictional fear – taking paradise and making it pergatory. Best of luck!
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Most of us have been there. It’s well past bedtime, our eyes are burning, we know we’re going to pay for it in the morning, but we just. Can’t. Stop. Reading.
What makes a book impossible to put down? What is it that draws us in and keeps us on the hook, addicting us to the pages like a drug? That’s the question – and I love seeking the answers.
For all my fellow writers out there, I read this article earlier and had to share it!
With NaNoWrMo almost here, I decided to give some thought to the pregame show. Spoiler Alert – This isn’t about sports. And there’s nothing to actually watch. It also isn’t another plotter vs. pantser post. This is about what you write before you write (I’m going somewhere here, I promise).
I am a pantser, which means I don’t create an outline before I write. More power to the writers who do, it just doesn’t work for me. When I start a new piece, sometimes all I have is the beginning. Or the ending. Sometimes the middle, but more often just an idea I’ve been kicking around that I think I can develop into 60-80,000 words that I hope will keep readers distracted from reality for a while.
I don’t outline because I like to see how things organically progress, like a social experiment where you drop a group of people into a situation and watch to see how they’ll react. But, since I’m more drawn to plot than character, I tend to not know who I’ll be playing with when I start. Which can make the stark white page with the blinking cursor looks kind of daunting at times.
So, while I don’t spend hours plotting out what will happen, I do engage in something called prewriting. That’s when I jot down notes, ideas, and general directions I could go in before I’ve made thousands of words worth of commitment to an idea I’ll later abandon. It lets me see possible names on paper, maybe a quick character sketch or two, locations to consider and some plot points I may want to visit along the way. Basically, it’s a brain dump.
Sometimes, I scratch the whole thing. Other times, I realize one of the characters I’m considering isn’t going to work in the story or with the other characters. It creates a launching point so I can quickly get some words on the blank page. And when I feel adrift in choppy waters, another quick brain dump is usually enough to bring my boat back to smooth sailing.
Pros: It takes all of five minutes, so if you don’t listen to a word of it you haven’t lost much time, and if it doesn’t work, simply try again. It gives you a rough direction if you’re feeling lost. It’s completely fluid – you can add or scratch notes at any time without having to restructure the whole thing.
Cons: It leaves a lot to chance and the writer’s ability to tell themselves a story on the fly as they’re typing. It does not provide the structure of allowing you to see the scene you’ll be writing on a given day. It does not write the story for you.
So, for all of you who don’t want to create a detailed outline of a book you haven’t written yet, but also don’t want to go in blind, I hope this helps! Best of luck to all the writers out there, both those who are and aren’t participating in this year’s NaNo!!!
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Writing takes you inside your own mind. Like, deep inside, into the dark nooks and shadowed crannies where the wildest parts of your imagination are free to roam. It’s the place where monsters are created – both figuratively and literally.
As much as I love immersing myself in the land of make believe, in toiling over my craft and creating new works of fiction, I have to ask myself – what happens when you spend too much time in any dark place? Imagine a plant without sunlight. An animal penned in a small cage. A writer chained to their desk.
What do all these things have in common?
They don’t grow.
And a large part of writing, the biggest part, perhaps, is drawing on your experiences to infuse your work with connections that your readers can identify with. An experience or an emotion that they share with your character that makes them sit back, take notice, and invest themselves in the outcome of the story.
I totally understand needing to be in the right frame of mind to write, or having to clear your head space to work out how to successfully pull off that devious plot twist you’ve dreamt up, and I’m SO guilty of zoning out of a dinner conversation while planning the chapter I’ll write the next day, but every writer has to find a way to turn the facet off (and on) at will.
If you have trouble shutting down with your computer, try establishing a pre- and post-writing ritual. Something that you do every time you start and finish writing. Developing healthy writing habits can help prevent against both writers block and long, sleepless nights spent crafting the most perfect sentences that you’ll never remember.
Because it’s cold and lonely on the dark side of the moon.
I’m thrilled to announce that my story, “Bad Moon Rising,” is available in the July issue of Mystery Weekly Magazine! Mystery Weekly is, in my opinion, the more approachable, hipper, sassier younger cousin of Ellery Queen and Alfred Hitchcock Mystery Magazines!
If you like short mystery and crime fiction, you should give this magazine a read. If you’re a short fiction writer, this is a market you need to check out! (FYI – it’s a qualifying market for the Mystery Writers of America – so if you’ve got your eye on active membership or that Edgar Award, definitely consider submitting!)
When writing fiction, how much thought do you put into your setting? Do you craft scenes drenched in atmosphere? Do your places drip with detail, oozing menace, gushing romance, shining with delight? Or is your setting simply the place where your fascinating characters bring your stellar plot to life?
I have to admit that while I occasionally focus on developing an atmospheric setting in my short fiction, in my novels the settings tend to simply be the trunk on which my plot branches and my characters grow their leaves.
My goal this year is to take more care in creating my settings. By skimping, I’m missing out on a vital opportunity to further flesh out my writing. To take my characters to the next level by allowing them to evolve over the course of the story.
Ask yourself – do your characters feel the same way about certain environments at the end of your story as they did at the beginning? Mine certainly don’t, and by sharing this evolution with my readers, I can make my characters more three dimensional.
Seize any opportunity you have to make your readers care for, identify with, and become invested in your characters!
How do you bring your scenes to life?
My short story “Dying Print” is available now in the latest issue of the Wild Musette Journal!