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by Melanie Anne Phillips Last issue we presented the Screenwriter's Bag of Tricks (Part One), which provided a collection of useful techniques for writing scripts. This issue, we'll offer up another collection just for the writer of novels. As before, these tips are provided in no particular order, are intentionally kept short and to the point, and cover a wide range of topics, from inspiration to development to business concerns. Some are geared to the beginning novelist, others to the expert. But regardless of your experience level, you're likely to find a few keepers. Novels Aren't Stories A novel can be extremely free form. Some are simply narratives about a fictional experience. Others are a collection of several stories that may or may not be intertwined. Jerzy N. Kosinski (the author of "Being There," wrote another novel called "Steps." It contains a series of story fragments. Sometimes you get the middle of a short story, but no middle or end. Sometimes, just the end, and sometimes just the middle. Each fragment is wholly involving, and leaves you wanting to know the rest of the tale, but they are not to be found. In fact, there is not (that I could find) any connection among the stories, nor any reason they are in that particular order. And yet, they are so passionately told that it was one of the best reads I ever enjoyed. The point is, don't feel confined to tell a single story, straight through, beginning to end. Rather than think of writing a novel, think about writing a book. Consider that a book can be exclusively poetry. Or, as Anne Rice often does, you can use poetry to introduce chapters or sections, or enhance a moment in a story. You can take time to pontificate on your favorite subject, if you like. Unlike screenplays which must continue to move, you can stop the story and diverge into any are you like, as long as you can hold your reader's interest. For example, in the Stephen King novel, "The Tommy Knockers," he meanders around a party, and allows a character to go on and on... and on... about the perils of nuclear power. Nuclear power has nothing to do with the story, and the conversation does not affect nor advance anything. King just wanted to say that, and did so in an interesting diatribe. So feel free to break any form you have ever heard must be followed. The most free of all written media is the novel, and you can literally - do whatever you want. Get Into Your Characters' Heads One of the most powerful opportunities of the novel format is the ability to describe what a character is thinking. In movies or stage plays (with exceptions) you must show what the character is thinking through action and/or dialog. But in a novel, you can just come out and say it. For example, in a movie, you might say: John walks slowly to the window and looks out at the park bench where he last saw Sally. His eyes fill with tears. He bows his head and slowly closes the blinds. But in a novel you might write: John walked slowly to the window, letting his gaze drift toward the park bench where he last saw Sally. Why did I let her go, he thought. I wanted so much to ask her to stay. Saddened, he reflected on happier times with her - days of more contentment than he ever imagined he could feel. The previous paragraph uses two forms of expressing a character's thoughts. One, is the direct quote of the thought, as if it were dialog spoken internally to oneself. The other is a summary and paraphrase of what was going on in the character's head. Most novels are greatly enhanced by stepping away from a purely objective narrative perspective, and drawing the reader into the minds of the character's themselves. Keep A Daily Log Of Tidbits One of the biggest differences between a pedestrian novel and a riveting one are the clever little quips, concepts, snippets of dialog, and fresh metaphors. But coming up with this material on the fly is a difficult chore, and sometimes next to impossible. Fortunately, you can overcome this problem simply by keeping a daily log of interesting tidbits. Each and every day, many intriguing moments cross our paths. Some are notions we come up with on our own; others we simply observe. Since a novel takes a considerable amount of time to write, you are bound to encounter a whole grab bag of tidbits by the time you finish your first draft. Then, for the second draft, you refer to all that material and drop it in wherever you can to liven up the narrative. You may find that it makes some characters more charismatic, or gives others, who have remained largely silent, something to say. You may discover an opportunity for a sub-plot, a thematic discourse, or the opportunity to get on your soapbox. What I do is to keep the log at the very bottom of the document for my current novel, itself. That way, since the novel is almost always open on my computer, anything that comes along get appended to the end before it fades from memory. Also, this allows me to work some of the material into the first draft of the novel while I'm writing it. For example, here are a few tidbits at the bottom of the novel I'm developing right now: A line of dialog: "Are you confused yet? No? Then let me continue...." A silly comment: "None of the victims was seriously hurt." "Yeah - they were all hurt in a very funny way." A character name: Farrah Swiel A new phrase: Tongue pooch A notion: Theorem ~ Absolute Corruption Empowers Absolutely Corollary ~ There are no good people in positions of power I haven't worked these into the story yet, but I will. And it will be richer for it. Don't Hold Back Unlike screenplays, there are no budget constraints in a book. You can write, "The entire solar system exploded, planet at a time," as easily as you can write, "a leaf fell from the tree." Let you imagination run wild. You can say anything, do anything, break any law, any taboo, any rule of physics. Your audience will follow you anywhere as long as you keep their interest. So, follow your Muse wherever it leads. No idea is too big or too small. Write about the things you are most passionate about, and it will come through your words, between the lines, and right into the hearts and souls of your readers.
*Try either or both for 90 days. Not working for you? Return for a full refund of your purchase price! About Dramatica and StoryWeaver Hi, I'm Melanie Anne Phillips, creator of StoryWeaver, co-creator of Dramatica and owner of Storymind.com. If you have a moment, I'd like to tell you about these two story development tools - what each is designed to do, how each works alone on a different part of story development and how they can be used together to cover the entire process from concept to completion of your novel or screenplay. What They Do Dramatica is a tool to help you build a perfect story structure. StoryWeaver is a tool to help you build your story's world. Dramatica focuses on the underlying logic of your story, making sure there are no holes or inconsistencies. StoryWeaver focuses on the creative process, boosting your inspiration and guiding it to add depth, detail and passion to your story. How They Do It Dramatica has the world's only patented interactive Story Engine™ which cross-references your answers to questions about your dramatic intent, then finds any weaknesses in your structure and even suggests the best ways to strengthen them. StoryWeaver uses a revolutionary new creative format as you follow more than 200 Story Cards™ step by step through the story development process. You'll design the people who'll inhabit your story's world, what happens to them, and what it all means. How They Work Alone By itself Dramatica appeals to structural writers who like to work out all the details of their stories logically before they write a word. By itself, StoryWeaver appeals to intuitive writers who like to follow their Muse and develop their stories as they go. How They Work Together But, the finished work of a structural writer can often lack passion, which is where StoryWeaver can help. And the finished work of an intuitive writer can often lack direction, which is where Dramatica can help. So, while each kind of writer will find one program or the other the most initially appealing, both kinds of writers can benefit from both programs. Try Either Program Risk Free! We have a 90 Day Return Policy here at Storymind. Try either or both of these products and if you aren't completely satisfied we'll cheerfully refund your purchase price.
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Contact Us - About Us - Lowest Price Guarantee - Shipping - Return Policy - Bonus Package Copyright Melanie Anne Phillips - Owner, Storymind.com, Creator Storyweaver, Co-creator Dramatica |
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