Unoriginality
I'll say this first, all stories written are just previous stories with the writer's own twists. Everything's been done before, but that doesn't mean you can't use one or a few of those ideas. Just add your own touch to them. Of course, unless you're writing a crackfic to post for whatever reason on the Internet, don't shove everything your pretty little brain can think of into your novel. It has to make sense, or at least seem like it makes sense.
Overexplaining
Your readers aren't idiots. They don't need you to write paragraphs after paragraphs explaining every little thing. Some things are better left shrouded in mystery, piquing the reader's interest, others are better off explained in a few short sentences. Once you explain something, you don't need to repeat it every chapter. Stay on track. Don't start recapping the events like you're some commentator. It gets annoying.
No Emotion
If there are no emotions in a novel, it makes the novel feel like a manual or a textbook. Boring. If you want your readers to laugh and cry along with your characters, describe their emotions. Put yourself in your characters shoes. Even if you haven't experienced what they're going through, think about how they would be feeling.
Here's a body language cheat sheet to help you: [link]
No Conflict
There's absolutely no conflict in your story. People read stories to live another life through the characters. If they can't relate to them, they won't experience their life. The characters need to want something and that something needs to be worthwhile. There needs to be setbacks, things that prevent the character from getting what he or she wants. Make the reader want to stay and root for the characters.
Characters
The readers don't have to love your character, but they have to care about what happens to them. If they don't care about the character, they don't care about the book.
Antagonists don't have to be pure evil, the same way protagonists don't have to always be good. The antagonist may have the right goal in mind, but they're going about it the wrong way. The protagonist might resort to underhanded tactics to get what he or she wants. That's okay.
Backstory
It might be a little hard to tell when you should begin your story. Just write enough to make your readers care about what happens to the character and make them continue reading. If you jump right into the action, say your character about to be killed by a monster, why should the reader care about their death? They don't really know much about him or her. Back up a little and try to express that character's motivation. You don't necessarily have to tell the reader what the character wants, but they should know that the character wants it.
Laziness
Lazy writing is bad writing. Laziness isn't just limited to letting the draft sit there unedited for weeks, months, even years. It includes relying on cliches and telling instead of showing what the character is feeling, thinking and doing. Don't keep your readers away and give them a detached summary of what's going on in your head, show them.
Giving Up
Writing a novel is a lot of work. Sometimes, you just sit there for hours, staring at a blank page, waiting for words to come to you. At other times, you might be staring at a draft wondering how you're supposed to improve it. If you don't write your novel, then who will? It's certainly not going to write itself. You have to write it. It's your story, isn't it?
I hope this helps and have fun writing!
Showing posts with label tips. Show all posts
Showing posts with label tips. Show all posts
Wednesday, August 1, 2012
Sunday, April 15, 2012
Creating Unforgettable Characters
Before you read on, check this out: What? Were you raised by wolves? I just thought I would share.
With great characters, one can make an addictive book even if the plot is a little thin. This is what real life is like, isn't it? Life doesn't have a plot or intricate storylines, but you'll find wonderful people (maybe not in all cases, but certainly memorable).
Every character should act like a real person who has been shaped and influenced by life. Everyone has been shaped by a past. They should have an automatic reaction to their surroundings. If say, a character was betrayed by a friend, they might have trust issues later on in their life. If they were attacked by dogs as a child, they might end up having a fear of dogs and will be uneasy around them even after counselling and therapy.
Why are you writing a story? What makes you to spend hours upon hours sitting there, trying to put your story into words? We all have something we want to achieve in life, right? We make our decisions to help us get there. We may waver at certain times or even stop chasing it altogether and find something else. Characters should be the same. What motivates a character and guides their decisions?
Adding to this, characters have basic and secondary motivations just like us. Everything that we (and your characters) do, there's something that influences every aspect of our lives, like a fear, desire or need. This includes times when we think we're not using our heads and acting based on instinct. This is called basic motivation.
Secondary motivations represent needs and desires that can be satisfied. If a writer writes books to earn money, they might stop once they're satisfied with the amount of money. This is secondary motivation. If a writer writes books because of their passion, then they would keep on writing even if they have enough money to live comfortably for the rest of their life. This would be the basic motivation that would keep them going.
Characters need to be consistent. If a character has a fear of any type of transportation and gets sick on them, they're not going to willingly ride a train. They can't get over a fear easily when they have to fight while the train is moving. They're going to be sick and be pummeled by their enemy unless someone comes to their rescue or the train stops.
Not every character will reveal his/her motivations to the reader. Focus on motivations supporting the plot, the ones you want to matter to the reader. Don't go around creating backstories for characters who appear in one scene and putting it in your work. If it helps you make them more realistic, then go ahead and keep it stored away somewhere safe. Think about it like this; readers don't want to read about the person walking by for pages while your main character is crying on a bench.
Every character has their own point of view. We all perceive things differently based on our thoughts, experiences, attitude, memories and emotions. Characters have their own unique views, just like we do. It's very important to know your character's history and background to know their attitude and their perception.
Every character has more than one problem. Their only problem shouldn't just be the main conflict of the story. They have everyday problems to worry about, just like you and me. Granted, they might be different problems like keeping dwarves from diggy-digging holes under their houses or stopping android prototypes from wreaking havoc in their lab. Just don't give them too many problems or they'll end up stealing the story away from the main conflict.
Characters need to have realistic-sounding voices. Not everyone speaks in proper English while talking to people. Some have accents. If they're immigrants, those who are in their teens and older tend to have slightly accented English (or another language), but children usually learn to speak like they were born in the country and might forget their first language. Some (or most) teenagers use slang and invent new terms. Just go to Urban Dictionary to see some.
No writing dialogue like you're writing a research paper and using fancy-schmancy terminology unless the character has a good reason to, like if they're a researcher trying to explain what they do.
Another thing to remember is that characters need to grow and develop over the course of the story. It's rather boring if one character who rushes into things without thinking stays the same way by the end. There should be something that makes them think twice about doing that. Maybe someone important to them got hurt as a consequence in the middle of the story. Things like this are what make stories interesting.
One trick I discovered to creating realistic characters is to put them into various situations and watch how they get themselves out of it. Don't just order them what to do, say or think. Let them figure it out. Poke them with sticks and see how they react. Will they cry, yell at you to stop or break the stick (and your arm) in half?
This might end up driving you crazy if your characters develop to the point where they are fully conscious and start judging your life from your brain...no...I'm not saying this from personal experience, what are you talking about? (= _ = ;)
With great characters, one can make an addictive book even if the plot is a little thin. This is what real life is like, isn't it? Life doesn't have a plot or intricate storylines, but you'll find wonderful people (maybe not in all cases, but certainly memorable).
Every character should act like a real person who has been shaped and influenced by life. Everyone has been shaped by a past. They should have an automatic reaction to their surroundings. If say, a character was betrayed by a friend, they might have trust issues later on in their life. If they were attacked by dogs as a child, they might end up having a fear of dogs and will be uneasy around them even after counselling and therapy.
Why are you writing a story? What makes you to spend hours upon hours sitting there, trying to put your story into words? We all have something we want to achieve in life, right? We make our decisions to help us get there. We may waver at certain times or even stop chasing it altogether and find something else. Characters should be the same. What motivates a character and guides their decisions?
Adding to this, characters have basic and secondary motivations just like us. Everything that we (and your characters) do, there's something that influences every aspect of our lives, like a fear, desire or need. This includes times when we think we're not using our heads and acting based on instinct. This is called basic motivation.
Secondary motivations represent needs and desires that can be satisfied. If a writer writes books to earn money, they might stop once they're satisfied with the amount of money. This is secondary motivation. If a writer writes books because of their passion, then they would keep on writing even if they have enough money to live comfortably for the rest of their life. This would be the basic motivation that would keep them going.
Characters need to be consistent. If a character has a fear of any type of transportation and gets sick on them, they're not going to willingly ride a train. They can't get over a fear easily when they have to fight while the train is moving. They're going to be sick and be pummeled by their enemy unless someone comes to their rescue or the train stops.
Not every character will reveal his/her motivations to the reader. Focus on motivations supporting the plot, the ones you want to matter to the reader. Don't go around creating backstories for characters who appear in one scene and putting it in your work. If it helps you make them more realistic, then go ahead and keep it stored away somewhere safe. Think about it like this; readers don't want to read about the person walking by for pages while your main character is crying on a bench.
Every character has their own point of view. We all perceive things differently based on our thoughts, experiences, attitude, memories and emotions. Characters have their own unique views, just like we do. It's very important to know your character's history and background to know their attitude and their perception.
Every character has more than one problem. Their only problem shouldn't just be the main conflict of the story. They have everyday problems to worry about, just like you and me. Granted, they might be different problems like keeping dwarves from diggy-digging holes under their houses or stopping android prototypes from wreaking havoc in their lab. Just don't give them too many problems or they'll end up stealing the story away from the main conflict.
Characters need to have realistic-sounding voices. Not everyone speaks in proper English while talking to people. Some have accents. If they're immigrants, those who are in their teens and older tend to have slightly accented English (or another language), but children usually learn to speak like they were born in the country and might forget their first language. Some (or most) teenagers use slang and invent new terms. Just go to Urban Dictionary to see some.
No writing dialogue like you're writing a research paper and using fancy-schmancy terminology unless the character has a good reason to, like if they're a researcher trying to explain what they do.
Another thing to remember is that characters need to grow and develop over the course of the story. It's rather boring if one character who rushes into things without thinking stays the same way by the end. There should be something that makes them think twice about doing that. Maybe someone important to them got hurt as a consequence in the middle of the story. Things like this are what make stories interesting.
One trick I discovered to creating realistic characters is to put them into various situations and watch how they get themselves out of it. Don't just order them what to do, say or think. Let them figure it out. Poke them with sticks and see how they react. Will they cry, yell at you to stop or break the stick (and your arm) in half?
This might end up driving you crazy if your characters develop to the point where they are fully conscious and start judging your life from your brain...no...I'm not saying this from personal experience, what are you talking about? (= _ = ;)
Tuesday, April 3, 2012
Writing Romance: How NOT to Do It
Perhaps I'm not the best person to be writing this guide with my indiscriminate hate for people my age and having zero personal experience with relationships of this type. But I do know real relationships. You learn a lot of things if you just sit quietly in high school and discreetly study people around you. (It's for research, don't you look at me like that.)
For me, a writer who twists the concept of romance so much that it's barely recognizable anymore, I have to know the basics of true romance. Can't screw it up if you don't know what the heck it is you're screwing up, am I right?
Let's first look at what defines a romance novel. A central love story and an emotionally-satisfying ending.
A love story needs to have conflict for the two people to fall in love. If your idea of conflict is "I don't have a boyfriend and no one likes me!", I suggest you start running before I find something sharp and pointy.
The characters need to grow. Not physically as in inches and centimetres, but mentally. Otherwise, the reader will put your story down.
Finally, there's the resolution. The problems need to be solved for the reader to buy the happily ever after.
Let's get on with the don'ts of romance writing.
Love doesn't happen instantly. That's infatuation. The online dictionary defines it as puppy love or temporary love of an adolescent. You don't really love someone you just met a few seconds ago. You haven't gotten to know them yet, so how can you? Maybe you've fallen in love with their appearance.
Romeo and Juliet is a good example of this. Romeo fell in love with Juliet in seconds. Look where that got them. (If Romeo and Juliet was meant to be a satire, Shakespeare is a genius.)
You can't truly love someone without knowing them first. I think this requires no further explanation.
You won't die if that person leaves you. It's not like you suddenly share vital organs at that first glance and need them by your side at all times. You still have your organs, they still have theirs.
Hearts can't literally be broken into millions of pieces like glass. They're squishy and fun to poke. Don't even use this in real life after a break up.
Don't fangirl over the love interest. Please don't waste our time, only you have the perfect mental image. Whenever someone tries to describe a book character to me, this pops up in my head and I just stick on whatever characteristics you give me, such as this colour eyes and this colour hair.
Actually, if you've read any show vs. tell guides, they should've told you not to use these as the only descriptions. You're supposed to link appearance to personality or actions, something like that. I don't remember the exact tip.
Don't stick words like sexy/handsome/insert other adjective here if your only reason is JUST BECAUSE HE IS. Get. Out. Now. I'll forgive you if the MC realizes that the love interest is nothing but a pretty face and moves on to a guy with actual character.
Mary-Sues and Gary-Stus are a no-no in every genre. Again, no further explanation is needed.
I hope this entertained you as well as showed you what not to do if you're writing a romance novel.
For me, a writer who twists the concept of romance so much that it's barely recognizable anymore, I have to know the basics of true romance. Can't screw it up if you don't know what the heck it is you're screwing up, am I right?
Let's first look at what defines a romance novel. A central love story and an emotionally-satisfying ending.
A love story needs to have conflict for the two people to fall in love. If your idea of conflict is "I don't have a boyfriend and no one likes me!", I suggest you start running before I find something sharp and pointy.
The characters need to grow. Not physically as in inches and centimetres, but mentally. Otherwise, the reader will put your story down.
Finally, there's the resolution. The problems need to be solved for the reader to buy the happily ever after.
Let's get on with the don'ts of romance writing.
Love doesn't happen instantly. That's infatuation. The online dictionary defines it as puppy love or temporary love of an adolescent. You don't really love someone you just met a few seconds ago. You haven't gotten to know them yet, so how can you? Maybe you've fallen in love with their appearance.
Romeo and Juliet is a good example of this. Romeo fell in love with Juliet in seconds. Look where that got them. (If Romeo and Juliet was meant to be a satire, Shakespeare is a genius.)
You can't truly love someone without knowing them first. I think this requires no further explanation.
You won't die if that person leaves you. It's not like you suddenly share vital organs at that first glance and need them by your side at all times. You still have your organs, they still have theirs.
Hearts can't literally be broken into millions of pieces like glass. They're squishy and fun to poke. Don't even use this in real life after a break up.
Don't fangirl over the love interest. Please don't waste our time, only you have the perfect mental image. Whenever someone tries to describe a book character to me, this pops up in my head and I just stick on whatever characteristics you give me, such as this colour eyes and this colour hair.
Don't stick words like sexy/handsome/insert other adjective here if your only reason is JUST BECAUSE HE IS. Get. Out. Now. I'll forgive you if the MC realizes that the love interest is nothing but a pretty face and moves on to a guy with actual character.
Mary-Sues and Gary-Stus are a no-no in every genre. Again, no further explanation is needed.
I hope this entertained you as well as showed you what not to do if you're writing a romance novel.
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