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I've been hit up by so many people for my "personal process to writing fiction" - from fellow authors to my sons sixth grade language arts teacher. I fear I often disappoint, but I have to point out the operative word 'personal' in the request.
So, here is my lack-luster, works-for-me process:
1. I do not recommend creative writing courses or any formal writing classes for that matter(gasp!) as they not only kill your imagination, but they force you into the boundaries of "but my teacher said"...which brings me to:
2. If you are an avid reader, then you inherently know how to put a story together. If not, then go read no less then a dozen fiction tales and pay attention.
3. The classical three-part structure is a must. You will always get the writer who wants to go artsy fartsy with it, and reinvent the wheel but if you want a marketable novel, you must have all three acts.
3A. YOU MUST HAVE CONFLICT! NO CONFLICT = NO STORY. Period.
4. Here is where my opinion and published experience differ from most. Outlines/summaries are distractions, though I understand why so many people cling to them like the last inflatable off the Titanic - their a comfort. I hate them and thus I don't use them. Here is the meat of my process:
My first step is, I daydream. I might carry the daydream on for days and weeks all the while hearing the characters conversations, seeing their routines - slightly akin to a schizophrenic. I am equipped 24/7 with voice recorder, pen and paper with which I jot down plot points, twists, interesting quips, dialog, scenes etc. When a scene is really vivid, I write it - no matter if I've officially begun the book or not - or if I have a book to put the scene in for that matter. I've written chapters backwards - I'll see the ending and have to work forward until I've got the entire scene.
NEVER FORCE IT TO WORK! NEVER FORCE A SEGWAY BETWEEN SCENES!
Just because you had a good idea or a clever quip, if it doesnt work it doesn't work. Forcing it to work just weakens your entire piece.
I know the general direction of the story by the time I type 'Chapter one' but as the story moves along, it might switch directions, which brings me to
5. Let the story tell itself. Honor that inner Muse and give them full rein - get out of your human 'but I was taught' brain and let the creation flow. Here is a good exercise (which is what "Haunted" was)
- find a quiet spot, your favorite place to write, whatever.
- put your fingers to the keyboard and close your eyes.
- DON'T THINK, JUST WRITE! See what story wants to come out, what avenue wants to be explored. Don't worry about punctuation, spelling or grammar. This is an exercise remember, not being graded on it.
- the point to this is to let your intuitive creation flow - tap into that muse (and be sure to thank and honor it).
6. Characters. You give me a shallow character to read and I'll round file it without apologies. Pretend your God - because essentially you are, and create the character with scope...what is his/her mother like, where did their father grow up? What kind of student were they - did they grow up with pets? None of those points may be a part of the story, but it gives your characters DEPTH. I don't only what to know if they got fired from their job that morning, I want to know if it triggers an emotion from their past, what their dead uncle Jeb might say .... I think you get the point. The deeper and rounder you make your characters, the more they are going to MAKE the story.
7. The old adage "show, don't tell" couldn't be truer. If you have to take a writing course, then feel free to leave after the prof says these words - it's all you need to know. And don't give me flowery prose to do so - don't break the spine of your thesaurus to show me...use what God gave you - your senses. When your character walks into a room, what do they see, feel, smell, hear - or empathically feel - ah-ha the illusive sixth sense! This one might not work with every story, but when it does, it's golden. When confronted by the Tiger, how does the body react? When they smell the scent of roses, what emotion does it trigger? Why? How does the body respond beyond crying (or laughing or whatever)? The best works I've read not only tell me a good tale, but let me BE there with the character. I want to cry when they cry, I want to feel that tight pit in my stomach when they watch the dog get shot - okay, you get it.
8. My personal thing: Grab me by the first sentence of chapter one. It doesn't have to be a thriller or crime genre to do this.
9. When it comes to writing sex or violence scenes, less is always more. And sex or violence just for the heck of it reeks of amateur. Make it pivotal to your character or your scene, but don't over use it. If you couple the 'less is more' with the senses - you can create a scene that will make readers call lovers home early...
10. WRITE THE STORY YOU'D WANT TO READ. Period.
Of course, this is all relative. It's what works for ME, pick and choose what works for you. And then next time you read a piece of fiction, pay attention to the parts you really like and the parts you don't - and realize why.
Now go write!
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