So you want to write a novel
Janne Iivonen Every work of fiction is organised somehow — and the best of them are more profoundly organised than they ever writte on. Our stories rely on the human instinct for architecture. Structure is, essentially, a container for content. The shape into which your story gets is a house slowly built from the foundation up. In fact, structure can be any number of things: Some writers try to envision the structure beforehand, and they shape the story to fit it, but this is so often a trap.
You should not try visit web page stuff your story into a preconceived structure. A proper structure mirrors the content of the story it wants to tell. It will contain its characters and propel them forward at the same time.
And it will generally achieve this most fully when it does not draw too much attention to itself.
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Structure should grow out of character and plot, which essentially means that it grows out of language. In other words, the structure is forever in the process of being shaped. You find it as you go along. Ask yourself if it feels right to tell the story in one fell swoop, or if it should be divided into sections, or if it should have multiple voices, or even multiple styles. You stumble on through the dark, trying new things all the time. You have to trust that it will eventually appear and that it will make sense. Plot matters, of course it matters, but it is always subservient to language.
Plot takes the backseat in a so you want to write a novel story because what happens is never as interesting as how it happens. And how it happens occurs in the way language captures it and the way our imaginations transfer that language into action. So give me music then, young maestro, please.
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Make it occur the way nobody ever made it occur before. Slow the clock down so that the tick of each and every second lasts an hour or more.
Take leaps into the past. Put backspin on your memory. Be in two or three places at writee time. Destroy speed and position. Make just about anything happen. Plot takes the backseat in a good story because what happens is never as interesting as how it happens Maybe in this day and age we are diseased by plot.
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So, unbloat your plot. Listen for the quiet line. Anyone can tell a source story, yes, but not everyone can whisper something beautiful in your ear. In the world of film we need motivation leading to action, but in literature we need contradiction leading to action, yes, but also leading to inaction.
If we try hard enough, Orwell thought, we might be able to extinguish entirely the "liberal culture that we have lived in since the Renaissance. The kind of things I do for an artist date are going to the cinema, visiting an art gallery, going to a particular shop for the sheer hell of it, taking time to have a cappuccino and piece of cake in an inspiring location and occasionally I take myself to the seaside for the day. This comes from good reading. The same goes for writing. The Guardian ran Abdel-Magied's attack three days before it published a transcript of Shriver's speech.
Nothing better than a spectacular piece of inaction. Nothing more effective than your character momentarily paralysed by life. A cuckold walks around Dublin for 24 hours. No shootouts, no cheap shots, no car crashes though there is a biscuit tin launched through the air. Instead it is a vast compendium of human experience.
They scaffold your words. Should a writer know her grammar? Parentheses in fiction draw far too much attention to themselves. Never finish a sentence with an at. Grammar changes down through the years: The language of the street eventually becomes the language of the schoolhouse. So much depends, as William Carlos Williams might have said, upon the red wheelbarrow — especially if the barrow itself stands solitary at the end of the line. But then again, a sentence can be over-examined. Good grammar can slow a sentence — or indeed a wheelbarrow — down.
The perfect run-along of words can sound so stiff.
Probably a to novel want you so write the continues
Every now and then we have to disregard the serial comma, or leave our participles dangling, even in the rudest way. Sometimes we make a mistake on purpose.
Plot takes the backseat in a good story because what happens is never as interesting as how it happens. On September 8, the author of We Need To Talk About Kevin and several other novels gave the keynote speech at the Brisbane Writers' Festival. Make writing a habit. Take leaps into the past. What sort of book do you dream of writing? Identity politics is about "authenticity. Above, Shriver dons her--gasp! Here are some suggestions for your author training sessions:
And the question is: Writers feel the grammar rather than knowing it. This comes from good reading.
- Shriver had wanted to talk about "fiction and identity politics," but the organizers asked her to talk about "community and belonging.
- It imagines the decline of America through the decline of one family.
- We have to know the world beyond our own known world.
If you read enough, the grammar will come. We have to know the world beyond our own known world. We have to be able to make a leap into a life or a time or a geography that is not immediately ours.
Often we will want to write out of gender, race, time. This requires deep research. Yes, Google helps, but the world is so much deeper than Google. So go down to the library. Check out the catalogues. Go to the map division. Unlock the boxes of photographs. If you want to know a life different from your own, you better try to meet it at least halfway.
Get out in the street. Learn how to listen. You must find the divine detail: William Gass — the American author who says quite beautifully that a writer finds himself alone with all that might happen — once suggested, while invoking Maupassant, that we should never mention an ashtray unless we are swiftly able to make it the only one in the world.
Please remember that mishandling your research is also your potential this web page. At times we can pollute our texts with too much of the obvious. It is often a good thing to have space instead so that we can fill it out with imaginative muscle. Texture is much more important than fact.