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Posts tagged ‘storytelling’

Using Movies And TV As Inspiration For Novels, by Beth Revis

I love movies. Unreservedly. I think movies are a great place to look for inspiration, particularly when you’re writing for teens. Teen literature needs dynamic characters (i.e. characters who change) and a fast-paced plot – two of the main ingredients that work for movies.

When I find myself knocking on the door of inspiration, there are a few movies and TV shows that I tend to go straight to.

Firefly/Serenity

I owe this television series-turned-movie by Joss Whedon so much. It has everything: changing characters, snappy dialogue and a tight plot that is perfectly structured. Honestly? We probably can’t be friends if you don’t like Firefly.

Doctor Who

This is a great show to go to for ideas. Seriously. It has so. freaking. much. in it that you’ll definitely be able to come up with some of your own ideas just by watching it. In the average Doctor Who episode, there are about ten more plot twists than are needed – take one of those and develop a whole story from it.

Veronica Mars

Dialogue. Dialogue. When you need to make your characters sound right, watch an episode of Veronica Mars. Runners-up: Gossip Girl and Tangled.

How To Train Your Dragon

This animated movie might be easily overlooked, but don’t. It’s brilliant. I love how smart the whole story is, from showing the growing relationships (as opposed to telling), developing character growth and just telling a great story. You need to see this one.

Becoming Jane

I feel obliged to include a James McAvoy title. This is a great one to remind you that you shouldn’t make everything perfect in your story. Don’t be afraid to show that happily ever after don’t always happen. Runner-up: Roman Holiday.

Penelope

Here’s another James McAvoy title, just for you! I love this one for sheer delight but, as a writer, I also appreciate the world building here. You have a character, Penelope, whose life and world are directly connected in a very real way. When you need to make something odd fit into your story, look at how Penelope did it. Runner-up: Shrek.

What are some of your favorites? What do you learn and discover from movies?

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Beth Revis’s author website: www.bethrevis.com

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Writing Stories In Different Formats, by Stephen Emond (graphic novelist)

I’ve had the privilege to write for a few formats that are not novels. Namely, I got my start working on comic strips and was very entranced with that industry for a long time. I also spent a few years working in comic books, and because of my comic book Emo Boy I was given the chance to work on a feature film screenplay for a proposed film adaptation. I’ll talk here about those unique processes.

All of them are of course very different from prose writing, for teens or otherwise. While the heavy lifting of creating an airtight plot remains the same for any form of writing, and believe me that can easily be the most effort-intensive part of the process, there’s less focus on detail, generally because an artist or director will be supplying the actual images needed. Your job is strictly telling the story.

Comic strips may seem the easiest but I’ll always maintain that it’s a great boot camp for writing. You only need to do a small number of panels, usually one to four, with minimal dialogue, a small cast of characters and usually just the one scene. To do that well, to tell a full story AND elicit a laugh or a heartfelt moment, or to make someone stop and ponder something for a moment, is difficult. To do it day in and day out, week after week, year after year, you’ll understand quickly how hard it is to keep that momentum going. Every strip needs to set up who is talking, where they are, what the context is and then somehow turn that idea on it’s head by the end of the strip in a clever way. Sometimes a comic strip will have a storyline that goes on through a week or a month; Bill Watterson of Calvin and Hobbes fame occasionally would play a game and see how long he could keep an idea going. Watterson is especially famous for pushing boundaries and testing the limits of the form. But through these storylines you can never assume a reader has read the previous instalments. You have to assume they’ve never even heard of your strip. So not only do you have to carry on the story, but you have to address it as if this is the first instalment of the story and find a clever or quick way to recap. Every strip is essentially a tiny standalone story.

Comic books have a bit more space to play in. You can grow from a 3 panel story to a full 3 act story. Comics generally have 24 pages to tell your story in; whether it’s a standalone story or part of a longer arc, which has become more common in the past decade or two. Comics are a very visual medium, so it’s often the artist who tells the story in terms of movement and dynamics, and the speed a scene may pass along at. The writer is generally setting up the scene and delivering the major actions and dialogue. I can draw decently, so I had written and drawn my comics. I’d usually come up with a long list of potential plots, as most of the issues of Emo Boy had anywhere from one to three short stories (Issue 11 had 11 stories). Once I had decided on a plot, I’d spend a day or two coming up with jokes, scenes and a general three act structure, and when it was time to write I’d keep those notes handy and often write the full issue in one sitting. The majority of the month I would spend doing all the art.

When I started work on the Emo Boy movie, I had to learn a lot about structure and writing a long-form work. With books and movies, that freewheeling speed and quick note jotting was no good, I needed to really sit down and put everything together like a puzzle. Theme, recurring motifs, and strong set pieces all became important. I had to really think of big visual moments that would look good in a trailer, I had to see everything on a screen in my head. I had to learn to cut for the first time, because, at 90 pages, you need a clean, strong storyline and you have to be aware of any scenes that divert from your story or don’t in any way enhance or add to the story. Real estate is precious in a screenplay: scenes are generally short, a few pages long at best, so you don’t have the freedom to stroll at your own pace the way you do in a novel. You can’t spend a page talking about the flowers your character just passed. A novel can be a thousand pages or it can be 300 pages, you set your own pace. A movie needs to hit the right beats at the right times and hit them strong.

One of the best things about novel writing is the control you have over it. There’s no space demand of a comic strip or even a movie, there are far fewer hands in the production. It’s essentially you and your ideas, particularly at the start when the blank page truly is an invitation to your own world, as large or small as you feel comfortable existing in.

There’s always an option for a writer whether to express a story as a comic, a movie, a video game, a novel, a blog, a news article… there’s always a need and a place for good writing.

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Stephen Emond’s author website: www.stephenemond.com

Stephen Emond’s bio page

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Three Act Structure For Novel Writing, by Amy Kathleen Ryan

In my last blog post about writing page turning novels, I touted the use of the three act structure as a useful device some writers use to help create dramatic tension in their stories. I’ve written entire novels myself without realizing I was employing it. Later, I’d look at the story and realize that every element of the three-act structure has been subconsciously inserted into my story. I think this happens because so many stories I’ve read before have followed it. I’ll even go out on a limb to suggest that three act structure existed before anyone knew it existed. It’s a narrative arc that has been deeply embedded in the human psyche since the time before people were writing stories down, when the tales told were legend and myth.

Before I describe the structure, let me clarify one thing that some of you iconoclasts might be thinking: a structure is not the same thing as a formula. A structure creates a framework wherein your characters move within their story. There are some out there who write outside of the common story arc, but most writers, even the great ones, adhere to this ancient narrative form.

Many variations of three act structure can be found on the web, and I encourage you to do some research of your own, but here is a brief outline:

1. The first act sets up your world and your characters. It shows how life is before your inciting incident, which sets your protagonist in motion. Your protagonist, when dealing with this new problem, will be hesitant in some way, but will finally confront a point of no return, where she has committed herself and has no choice but to stay the course.

2. This begins your second act, your rising action, comprised of points and counterpoints between your hero and your antagonist. The second act ends when the absolute worst happens, and all is lost.

3. But wait! Your hero uses her ingenuity and courage, rallies her dwindling resources to do something completely unexpected, and somehow wins the day. This is your climax. Loose ends are tied up, but hopefully not too perfectly, and the reader can finish reading your book then hurry to the bookstore to find more titles by you.

Part of what makes this structure so useful is that it helps the writer keep her characters in charge of the story. You are free to employ the vicissitudes of fate in your plot, but the main pivot points of your story remain in your characters’ hands. This helps hold your reader’s interest, because, in the final analysis, random chance isn’t very interesting. It’s what people do with their circumstances, their choices and their mistakes that makes fiction, and life, interesting.

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Amy Kathleen Ryan’s author website: www.amykathleenryan.com

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Bringing English 101 To Your Novel, by Beth Revis

I love finding meaning in literature. It’s like a puzzle for me – piecing together the symbolic clues the writer has left in the text. My favorite classes in high school and college were the literature interpretation ones.

That said, a lot of times people hate those classes. Some people hate all those literary devices and all that analysis (I don’t know why!).

The thing is, a lot of those things we learned the definitions of in English 101 are really essential to a story. Some of it’s vital and some of it contributes to what I call the re-readability factor, when readers only see the depth of that part of the story on a second read-through of the novel.

Here are some of my favorite literary devices to read and write:

Foreshadow: This one is so easy. I fall into the Kurt Vonnegut camp. Something from the first chapter should reflect the rest of the story. More than that, you should think about making it work for the whole series if you are writing a series. Consider JK Rowling: minor mentions in early books have huge importance in later ones (polyjuice potion, anyone?).

Symbolism: Do not place too much emphasis on this. Nothing kills a story like heavy-handed symbolism. The story is the most important thing here. A few subtle details and symbols can really help make a story important. Think about the movie The Sixth Sense: the color red was subtle, but tipped the viewer into a whole new understanding.

Homage/Easter Eggs: This is my favorite thing to add to a story: little nods and details to other books or movies. They don’t change the story but they can make a reader sit up a little straighter when they notice. For example, in my novel Across The Universe, Amy is frozen in cryogenic chamber #42: a nod to Douglas Adams’s The Hitchhiker’s Guide To The Galaxy.

Circular Structure: Essentially, circular structure is when the story comes full circle. JRR Tolkein did this in The Hobbit - Bilbo starts the novel at the hobbit village and ends the novel there. Of course the characters changed – but there’s a parallel, circular aspect to the story. When thinking of your own novel – particularly if it’s a series – see if you can use circular structure to bring the reader back to the beginning.

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Beth Revis’s author website: www.bethrevis.com

Beth Revis’s bio page

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Plotting A Novel, by Laurie Faria Stolarz

When people first begin a story, they usually get inspired by one of two things: character or plot.  There’s no one right way.  Both approaches have their benefits and drawbacks.

I often get email from aspiring novelists seeking advice when they’ve hit a roadblock in their works-in-progress.  They tell me that they were initially so excited about their stories but then, when they got to a certain point, they lost steam.  When I ask those same people what it is their character wants, what keeps that character from getting it, and what the character needs to learn in order to get it, these writers often don’t have the answers.

Perhaps a little plotting is in order.  I’ll discuss more about character in the next post.

Plotting 101:

Come up with an idea.  You want to figure out the driving force of your story.  For example, perhaps you want to write about a girl who drops out of high school to pursue her dream of becoming a Hollywood actress.  Or maybe you prefer writing about a boy who gets involved in a gang and ends up stealing from his own parents.

Choose the basics of your character. This is stuff like gender, age, situation in life, or whatever helps you picture them enough to get your plot going.  In Blue is for Nightmares, Stacey is a 16-year-old practicing Wiccan at boarding school.

Introduce your character to an initial action/problem.  This is the first event/ problem in the story that pushes the reader forward.  For example, maybe      your 15-year-old bully of a character learns that her parents are getting      divorced and she’ll have to move and start over at a new school. In Blue is for Nightmares, Stacey starts having nightmares that her roommate is going to be killed within four days’ time.

Decide what it is your character wants.  This drive will influence most if not all of your character’s decisions and actions.  It’s your character’s motivation.  In Blue is for Nightmares, Stacey wants to save her roommate before it’s too      late.  She also wants to forgive herself for ignoring nightmares that she had three years ago, because a little girl died as a result.

Decide what keeps your character from getting what s/he wants.  There are usually one or more obstacles that keep(s) your character from getting what s/he wants.  In Blue is for Nightmares, Stacey’s obstacles are many: she fears she won’t be able to stop the killer (self doubt); she has botched spells; she relies too heavily on spells and not enough on herself (lack of confidence); she failed to save someone in the past and fears it will happen again.

Have your character learn a lesson.  This lesson is usually a real turning point for your character.  Having learned this lesson, they can better achieve what they want.  In Blue is for Nightmares, Stacey learns that she is more powerful than her spells, that her spells do indeed aid her, but it’s the will and power inside her that’s most important.

Climax. this is usually the highest point of tension in the story, the place where most of your action or drama will take place.  This may be the point where your character faces his or her biggest obstacle.  In Blue is for Nightmares, Stacey figures out who the killer is and confronts him.

Resolution. this is the tying up of loose ends.  It’s also where subplots get tied up (note: a subplot is any minor plot in the novel.  For example, even though Stacey is trying to save her roommate, she’s also battling the crush she has on her best friend’s boyfriend.)  Having stopped the killer and saved her roommate, Stacey now goes away with a healthier sense of self.  We also learn whether or not she gets the boy.

If all else fails, think of plot in terms of the stuck up a tree approach.  In other words, put a someone up in a tree then throw rocks at them to get them down.

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Laurie Faria Stolarz’s author website: www.lauriestolarz.com

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Mistakes I’ve Made As A Novelist, by Bernard Beckett

The spark for a particular novel can come from many places and arrive in many forms. For me, sometimes it’s an idea that’s puzzling me and the writing of the novel is a working through of my own confusion. Other times there’s a plot element, a particular ending perhaps or an opening that intrigues me. Other times it’s a character. The trick is taking this starting point and weaving it into a successful and satisfying story. The trouble is that the path from starting point to finished product is not at all clear. There are any number of paths to take and the great majority of them will end in failure. This, by way of illumination, is a story or one of those failures – my novel Home Boys.

The starting point was unusual for me, it began with my father telling me the story of a man who lived in the same small town as him. The man in question had been sent out to New Zealand post World War Two, as part of the scheme meant to offer new starts to children whose lives had been ripped apart by the war. Like so many of the children, this man’s story was not a happy one. He was signed up to the scheme by an older brother and didn’t know he was on anything other than a day trip until the boat was out to sea. He ended up on a farm where he was essentially used as slave labour. I went and interviewed the chap and was captivated by his story, and by his resilience. In the way of his generation, he seemed to have simply shrugged and got on with it, and looking back, held no bitterness or regret.

My plan was to use the first half of his story (being put on the boat, ending up on the farm, then running away) and then fictionalise the rest. The trouble was, I didn’t exactly know what that rest was. And because I had such a solid start, there was an opportunity to start writing without really thinking about it. The first bits came easily, the character developed, along with the sense of place, and I figured I could probably just follow my nose from there and something would work out.

As I approached the point of departure into pure fiction, I began playing around with new ideas. Another runaway down the road becomes a mate and suddenly we’re into Huckleberry Finn territory. Feeling confident, I threw in some disturbing dreams (always a mistake) that hinted at the possibility of the supernatural. I brought back an Italian prisoner of war, who by strange coincidence (no worries, I’ll solve it later) reappeared and then, following my nose, ended up at a small fishing village and a love triangle at its apex. I think there was even mention of a mysterious cave in the bush from whence no man had returned. I was, it was fair to say, having fun. And the writing, for me, wasn’t half bad. I was enjoying getting the sense of time and place. It was the geography of my own childhood, I knew it well, and loved the challenge of getting that landscape into the paper.

In hindsight, I can see that I was absolutely seduced by the process of putting more and more balls in the air. The idea was that somehow I’d nail the catching as well, that they’d land in my hand one by one in a satisfying succession of plops, and I would bow to the standing ovation. I was caught up in the feeling the reader would also have, that somehow this mad mix of myth, dream, history, lust and coincidence was going to weave itself into an astonishing ending.

The trouble, clearly, was that I had no ending. I didn’t even have a feel for the what the ending should do, what the satisfactory completion of Colin’s character arc would look like. The book was coming to an end, the options were closing in, but there was no place to jump to that would tie it all up. At that point, what I should have done is taken a deep breath, gone back to the beginning and tried to work out what it was I was really trying to achieve. Instead I cheated and threw in a non-ending with the two boys sitting on the back of a truck, having hitched a ride, heading into the city. It was supposed to be symbolic, I suppose, but it was no such thing. It was just a case of not knowing how else to end the story, because this particular story didn’t have an ending, making it not a story at all, but rather a collection of ideas and events and people and places that I really loved writing about. Less a novel, more an extended creative writing exercise.

Looking back on it now, I still love reading from Home Boys, for exactly the same reason I enjoyed writing it. In my head, it’s hugely alive, maybe more than any other piece of my writing. As such it must be filed under ‘ones that got away’, a book where I got caught up in the telling and lost sight of the story.

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Bernard Beckett’s author website: www.bernardbeckett.org

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Writing Suspenseful Novels, by Amy Kathleen Ryan

I endeavor to write page-turners.  I love a book that has me so absorbed I will stay up late to finish it, knowing I’ll be tired the next day. I love the tension, the high stakes, the furious pace that makes me deliciously dizzy and frantic all at once. I am forever in awe of writers who can write them, because even if the page-turner is often considered a “commercial” book rather than a “literary” one, there is a world of skill involved in creating one.

Not everybody can be Stephen King, but everybody can learn a few tricks writers use to make their books hard to put down. Here are a few I’ve accumulated along the way.

Judicious use of cliffhangers. If you examine a page-turner, you might find that every chapter ends with a cliffhanger. If the endings of your chapters are too “pat,” you give your reader a natural place to stop reading, and they might not be so eager to pick the book back up again. If you end a chapter with your protagonist in a death embrace with a giant squid, your reader will have no choice but to keep going.

Be succinct. In the history of the universe, there has never been a verbose page-turner. Use details, use setting, use dialogue, write beautifully, but waste no time on words you don’t need.

Let the reader know more than the characters know. If you have a sweet little waif walking up a hillside, and your reader has no idea there is a lecherous troll waiting for her behind a boulder, there isn’t much suspense there. If the reader knows that she’s walking into a trap, you’ve made the reading experience much more harrowing and a lot more fun.

Have consequences. You know how you kind of fall in love with your characters, and you think they’re really great people, and you’d buy them a cup of coffee and have a nice chat if they were real? And you know how you don’t want anything bad to happen to them? Betray them. Torture. Maim. Destroy. Page-turners don’t tend to be sweet little flouncing stories, unless you’re Jane Austen. If you can’t torture your beloveds, forget the page-turner and write a romance, which has its own attractions. Whatever you do, have your character solve his or her own problems. Nothing kills tension faster than a clunky Deus Ex Machina.

Don’t outline. Plenty of people will disagree, but I find when drafting I do better if I don’t necessarily know what’s going to happen. Many times I have gotten to the end of the novel with no idea I was going to kill off a particular character. If you know everything that’s going to happen before you write it, you’ll miss the little breadcrumbs your subconscious is leaving for you about the surprises lurking in the forest. Follow the breadcrumbs. Be willing to stumble off your path, because if you surprise yourself, your reader will be surprised too.

Use the dramatic three act structure. This structure is a bit more involved than the simple ‘Exposition, Climax, Denouement’ we all learned in middle school. I’m leaving a more thorough discussion for my next post, but if you can’t wait, it’s available all over the web in myriad forms.

Perhaps some of you will have noticed other traits of the page-turner. Feel free to leave your ideas about it in the comments. And have fun with your writing!

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Amy Kathleen Ryan’s author website: www.amykathleenryan.com

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Creating Conflict For Your Character, by Stephen Emond (graphic novelist)

In this post and the next I’ll show you how I apply some common writing tactics to my own work. Today I’ll talk about my first novel, Happyface.

One rule that I found useful when trying to think up events to take place early in the book was the idea of rocks and shields: the idea that your character exists in a world where rocks are constantly being thrown at him or her, so your character seeks shields for protection.

In Happyface, rocks come at the protagonist all throughout the book. The tragedy that starts him on his journey can be considered one such rock. Happyface and his mom move to a new town near the start of the book, leaving his father and brother suddenly absent. Happyface’s story is about reinvention and hiding from his past. These are his goals. So what are the rocks?

An early rock is the presence in this new school of Mr Mulvey, his English teacher. Mulvey went to Happyface’s old school and taught his older brother. Mulvey knows Happyface and his family story. For someone trying to hide everything he was before, Mulvey, well meaning as he is, becomes a dangerous presence.

Another rock comes from the Moon sisters; best friends of Happyface’s crush, Gretchen. They’re over-protective of their friend and intensely nosey. Happyface is constantly trying to throw them off his trail and keep himself a mystery but they want to know who this kid is and, more importantly, who he was.

The arrival of Chloe, his old crush from his old town, also ramps up the intensity and reveals a lot of holes in Happyface’s story that has everyone questioning his reliability. Happyface’s mom is also a rock, in the midst of a breakdown and wanting to keep past events in the present.

As for shields, Happyface has those too. His sketchbook is one – it’s a diversion and it keeps his story straight, it makes his fake stories real. His entire “Happyface experiment” is a shield – he fully immerses himself in this social experiment that takes up his days and nights as a way of erasing a painful past and occupying his mind. Gretchen is a shield. His head-over-heels infatuation with her is a way of avoiding reality. His obsession with becoming popular, with having friends, is all to avoid his home life. If he loses them, he loses everything; all he has is a dark, broken, sad family life to return to.

Another writing method I used in Happyface is a character web – the idea that each character in some way illuminates a different part of Happyface. Around dorky Mike, who is shades of a former Happyface himself, Happyface becomes an alpha male, and talks down to him. Around Frog and Oddly, his “fan club,” Happyface truly feels like the popular kid in school. Around Gretchen he’s vulnerable and scared. Around Misty and Karma Moon he plays up the comedian role, not a care in the world.

Each crush of his reveals one of his “masks”. Together they showcase the idea that he’s always had this chameleon aspect to his personality. The book is never about popularity or about love, Gretchen is never the actual goal of the story, but it’s a book about becoming comfortable with yourself. The happy ending is being able to take off the mask.

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Stephen Emond’s author website: www.stephenemond.com

Stephen Emond’s bio page

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Creating Life-like Stories For Novels, by Kate Forsyth

A writer must learn to watch, listen and learn from life, in order to create the illusion of life in their work.

Go out with your notebook and pen to explore and experience. Catch a bus or a train, sit in the park or in a café, wander the streets or go to an art gallery, a museum, a skateboard park or anywhere that catches your fancy. Watch. Listen. Jot snatches of dialogue. Write quick word sketches of people:

- how they sit

- how they eat

- how they dress

- how they behave when in company, and

- how they behave when alone.

Begin to develop stories around them. Wonder about their lives. Imagine motivations for their behaviour. Why do they talk, move, think and act as they do?  Feel free to let your imagination run wild.

Quick character sketches like these can be a great way to amuse yourself while bored waiting in a doctor’s surgery or for a ferry.

Over time you’ll build up pages of them that you can use when actually writing a novel. Train yourself to be observant and notice nervous mannerisms or interesting tics – do they always wear red shoes? How do they like to eat their eggs?

Obviously a character sketch like this only reveals personality by externals, but it’s amazing how much we can infer just from those visual clues.

The great strength of a novel, of course, is that we have dialogue, action and interior monologue to help us delineate characters as well as their visual appearance.

The more you try and get inside people’s heads, and imagine what they think and feel, the easier it becomes.

I always begin a novel by thinking about my characters, and what role they play in the story. In general, most novels contain a cast of characters whose roles can be summarized as following:

- the hero (or protagonist)

- the villain (or antagonist)

- the romantic interest (or two – I do like a love triangle!)

- the companion or sidekick

- the mentor

- the circle of friends and allies

- henchmen (the villain’s circle of friends and allies)

- complications

- clowns

- animal friends

- secret friends and hidden enemies

- the sacrifice

Of course, sometimes one character will take on more than one role. Often the buddy will also be the clown, for example, or he may act as the sacrifice. The animal friend can actually be a robot, a coconut with a face drawn on it or a rag doll. The romantic interest may prove to be a hidden enemy, or the villain may end up being a secret friend.

I assemble my cast of characters – I give them names and faces, and then I begin to daydream them into life. I wonder about:

- their motives

- their key character traits (impulsive and quick-tempered, or slow to anger but slow to forgive?)

- their great strengths

- their great weaknesses

- what sort of clothes do they wear

- what kind of food they like

- how do they move – are they quick and agile, or slow and clumsy?

- how they speak (dialogue is extremely important when delineating character).

Often strengths and weaknesses are different points on a spectrum of the same character trait, for example a generous-hearted person who thinks the best of everyone may sometimes not be a good judge of character.

Then I always begin to wonder about the two great driving forces of any personality:

- what do they FEAR most

- what do they DESIRE most?

I also consider:

- how will they grow and change throughout the story?

- what lessons do they need to learn?

The other thing that is also really important to remember is that the character’s outer journey must always be reflected by the inner journey They must learn something with each ordeal faced and each obstacle overcome. The true narrative arc of any story is the protagonist’s growth towards self-realisation and wisdom.

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Kate Forsyth’s author website: www.kateforsyth.com.au

Kate Forsyth’s bio page

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United States (and beyond)

The Puzzle Ring   

United Kingdom (and beyond)

    

Australia (and beyond)

The Gypsy Crown (Chain of Charms)The Starthorn TreeThe Tower of Ravens (Rhiannon's Ride)The Puzzle Ring     A World AwayThe Night She DisappearedMy Brother's Shadow

Writing Teen Novels
www.writingteennovels.com

Creating A Sense Of Place In A Novel, by Kashmira Sheth

Writing a story that has a rich sense of place makes the setting feel authentic. If the place is unique, our characters stand out against their illuminating backgrounds.

Making the place come alive becomes crucial if our readers are unfamiliar with the setting. This occurs in many types of stories, including historical fiction, science fiction, fantasy and stories set in other cultures. Not only do readers need to connect with the main character and their journey, but they also need to know and understand where that journey takes place.

As a writer, you needs to conceptualize this place in your head. If you simply describe all of it at the beginning of the story, it won’t be effective. Too much information about the place will probably get boring; it might slow down the story, and even make the plot feel irrelevant. The key to introducing a new place is to do it in such a way that the reader finds it relevant and fascinating,

By adding a little information at a time about the setting, readers can slowly drink it in as they read the story, instead of having to gulp it down all at once.

By describing things that need to be explained or that would enhance the story, and skipping the unnecessary details, you can sharpen the pace. If you start describing a moonrise, make sure there is something unique about it and that it has a connection to your story. If the moonrise is somehow linked to the character’s journey, mention it. Otherwise, save your descriptions for something unique to that place or to your story.

The writer should also consider carefully the timing of these details.  If the place or culture is utterly unfamiliar to our readers, details can be thought of as multiple curtains. They can be lifted up one at a time to reveal what we need to know and want to communicate at that specific time in the story.

Besides revealing the right details at the right time, using metaphors and similes can ground readers to a particular place. These metaphors and similes must be tied to the environment your protagonist inhabits. If someone is living in a lush tropical climate, “as sweet as maple syrup,” doesn’t resonate true. Instead, “as sweet as sugarcane juice,” might work well. If the story is set in another culture, some words from the native language can also help give the story an authentic feel. The sounds of a different language can have an almost magical power to transport the reader somewhere else. Using vivid and unique imagery and sounds of language from the place can also create the right atmosphere for the story. These metaphors and imagery plant the reader firmly into our character’s world.

By employing the different techniques mentioned above, you can bring into focus the world of your protagonist and invite the reader to step in.

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Kashmira Sheth’s author website: www.kashmirasheth.com

Kashmira Sheth’s bio page

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United States (and beyond)

    

United Kingdom (and beyond)

    

Australia (and beyond)

Keeping CornerBoys without Names     The Girl Who Was Supposed to DieThe Empty KingdomAugustAngel DustBlue is for Nightmares

Writing Teen Novels
www.writingteennovels.com

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