Want to write a story book
The Writing Prompt Boot Camp Subscribe to our FREE email newsletter and receive a free eBook of writing prompts! They seem bigger than you. They give stern lectures. Except remember what happens? Thus the great secret is revealed: Here are seven ways successful authors make their stories crackle with authority and get the want to write a story book on their side. These techniques will work on any kind of fiction: Go beyond the five senses. Most writers know enough to article source in sensations wriye sight and sound.
Agents and editors love the five senses, but they want and expect more. They want physical business that deepens not just your setting, but your characterizations. The best authors use body language in want to write a story book narratives.
Call up that spirit as you put pen to paper or fingers to keyboard. As will your future readers. Forget about being pretty. I was pitched on a couple of other book ideas over the next couple of years, but I finally decided that Think Like a Rock Star was the only book I wanted to write.
Yet it absolutely gives texture and depth to your work. Begin by reading up on body language.
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Dwell inside your characters and sense how they feel in any given situation. Brian paused and lit a cigarette. He exhaled a stream of smoke at the window. If Brian needs a cigarette, use the moment fully: I here add that you can pick apart any masterwork on that basis: Human weirdness follows patterns we can all relate to or at least understand. One of the biggest is that love—or sex, at least—makes people irrational.
We throw over the picture-perfect millionaire for the rough-around-the-edges dirt biker with debt; we lie to our faithful wife on the phone while bonking the secretary in a motel. Which goes to show that if you incorporate a strong enough motivating factor—even an irrational one—you can example of writing academic essays are written establish a plausible reason for erratic actions on the part of your characters.
And those characters are far more interesting to read about than those who always behave rationally. Similarly, any number of terrific plot turns can result when you give a character an obsession—random or not—or an idiosyncrasy that can act as a thread through the story. For instance, someone who is obsessed can become single-mindedly so, leading to horrible errors in judgment. Control freaks turn vainglorious and become prone to fatal decisions: Which one are you sort of avoiding dealing with? What if he categorically will not show up anywhere on time?
This sort of characterization does two things: It makes a character stronger as a dramatic device, and it makes him more memorable. Or they might not even notice—but they will get a feeling that for some hard-to-pinpoint reason, this character just seems genuine.
Forget about being pretty. A few years ago I was teaching a workshop and trying to get across the concept of writing freely with no thought of whether you like the result. A participant spoke up: Thank you, anonymous writer and unknown art instructor! Everyone in the room immediately made the translation: Not-pretty has two meanings here: Most people shy away from darkness, but as an author you must be willing to dwell there, see it truly, explore it before you represent it. I kind of hate to say this, but I advise going back to your childhood years—the primal times before we really knew right from wrong, and before we were strong enough to defend ourselves from evil.
Feel the fear that coursed through your body when you saw the neighborhood bully coming.
Feel the shameless intoxication of wrecking something out of spite. As for freeing up your writing, do the same thing. When you were a kid, you did everything with almost complete abandon. Call up that spirit as you put pen to paper or fingers to source. Be true to your IQ. When I worked for a large bookseller, we ran surveys that showed our core customers to be well educated and fairly affluent.
This was not surprising: Educated people tend to like books, and their income tends to enable them to buy books. You cannot do it. And dumbing down your work can be doubly disastrous, because if you do, agents and editors will not be able to relate to it. First, free your vocabulary while also keeping it in check.
Edwina stopped revving the accelerator. The car rocked back into the sand. She looked up at the thick spruce boughs that hung into the road.
Agents and editors will recognize an honest, unstilted voice, and they will respond to it. As will your future readers. Use your best material only when it has a wwnt. Agents and editors have a sixth sense when it comes to kitchen-sink novels. I once read a novel manuscript at the insistence of a friend who knew the author. In it, a man on foot stops to talk to a man on horseback who is wearing a live snake around his waist like a belt.
The incident was colorful but had no bearing on the story, and I suspected stody the only reason it was there was that the author had once met up with a man on horseback who wore a want to write a story book around his waist like want to write a story book belt. A casual inquiry proved me right. Put your best material in, but leave the kitchen sink in the kitchen. Alternatively, adapt your story to the cool thing.
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The author with the snake-belt guy might have brought that character into the story more, either want to write a story book making him a one-shot oracle who gives or withholds a crucial piece of information, or by making a real character out of him, with a name and a crime or a heartache.
The snake could then have served multiple purposes: Did you grin or chuckle at that last line about the snake-belt guy lacking a girlfriend? What agents and editors love above all is wit.
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Note that wit is not exactly humor: Wit is more of a brain thing. All of these can serve as subtle tactics for adding wit to your fiction. For instance, you might decide to give a character a blind spot. Imagine that snake-belt guy shows up for a first date and the woman slowly picks up her purse and leaves the coffee shop without wriet much as a word. The underlying wit is that until that moment, it had never even dawned on him to consider leaving the snake at home.
Look for opportunities to incorporate small, believable incongruities. Go here character who is sharp about some things but not others can be funny. Lots of books make readers laugh and lots make readers cry, but when readers laugh and cry while reading the same book, they remember it. What makes people cry? What I mean is: Agents and editors are looking for emotional suspense, with a walloping story book. Your pathos must not be cheap. In this case, cheap is usually the crappy twin writf quick.
- My current regime is to give myself an hour to write in the mornings before getting on with the rest of my day.
- In this case, cheap is usually the crappy twin of quick.
- She refers to writing a page at a time as laying track.
Take your time and let emotion build from a single seed. How to make him vulnerable? Maybe our bouncer has never given want to write a story book his boyhood dream of being a fighter pilot. Maybe, as a year-old, he decides to go for this dream. We follow him as he attends night school, gets his GED and signs up for the Air Force. He tells no friend back home, no one he loves what his ultimate goal is. You know what to do from here: Let his dream want to write a story book closer; let him overcome setbacks.
Then, let some big shot take a disliking to him. This subtle facet of emotion has fueled many a bestseller. Agents and editors are tuned to seek flaws and weaknesses in an author, but their hearts melt in the face of author strength, competence learn more here bravery. Follow these suggestions, and readers of all sorts will respond to the deeper edge of realism that they recognize but cannot always name.
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