The Writers' Lens: writing tips

Showing posts with label writing tips. Show all posts

Wednesday, July 20, 2016

Three Thoughts about Foreshadowing

Three Thoughts about Foreshadowing

Brad R. Cook

Foreshadowing… what could be coming in this article… we’ll have to find out.

Foreshadowing is defined as a warning or indication of a future event. A dramatic device used to inform the reader that an important plot-point will return later in the story, in a significant way.

In television it will be accompanied by rousing music like… dun, dun, duun.

Foreshadowing is a wonderful way of teasing the reader. Arousing a sense of wonder, and making the reader ask questions, or develop their own theories of what is coming. Foreshadowing comes in two important parts, one scene or line that teases the future, and a scene or line later with the promised payoff. A false buildup can anger the reader, leaving them longing for a scene that will never come.

Usually, foreshadowing will happen in the first act of a book, but it can happen in the second act, or even the beginning of a chapter. The important point is to leave the hints before the significant scene. On a personal note, I love when writers elude to something early on in a book and that gets paid off much later in the story, it builds a sense of having come full circle in the story.

Three thoughts about Foreshadowing:

1 – Elude to the Future:

The best foreshadowing drops hints as to what the important plot-point will be. Truly great writers will drop enough hints that the reader can’t figure out what is coming, but once the plot-point has happened the reader will remember the foreshadowing and all will become clear. A foreshadowing scene or line can come any time before the significant plot-point. From the beginning of the book all the way to right before the reveal.

2 – Don’t Give Too Many Details:

Tease the future to your audience. With too many details, the reader might figure out the plot-point before it arrives. Yes, most will continue reading to see if they are correct, but if the reader can figure out what is coming, if they figure out the big reveal before the writer unveils the scene, disappointment can ensue or worse, they could stop reading. A single line might be all it takes to foreshadow what is coming, maybe even something as simple as the weather. Keep the foreshadowing simple and the reader will appreciate not giving it away.

3 – Foreshadow the Big Moments:

Foreshadowing is a device that is best used sparingly. Overuse would be a tad ridiculous. Imagine a book where every little detail is foreshadowed. The writer would spend as much time eluding to what was coming, as they would be revealing the plot. Select the moments that create the most impact, like the climax, or a significant plot-point, but there is no need to foreshadow every event. You can even foreshadow the twist of the book. The important thing to remember is to not elude to every event in the book. Foreshadowing gives the important moments even more emphasis.

One of my favorite moments of foreshadowing came in The Empire Strikes Back, Luke sees his face in Vader’s mask on Dagobah and later finds out Vader is his father. Though as Anna Kendrick points out in Pitch Perfect, Vader means father.

What are you favorite foreshadowed moments in books or movies? Let us know in the comments.

Brad R. Cook, author of the YA steampunk series, The Iron Chronicles. Iron Horsemen - http://www.amazon.com/Iron-Horsemen-The-Chronicles/dp/0989207951 and Iron Zulu - http://www.amazon.com/Iron-Zulu-Book-Two-Chronicles/dp/0989207978. A member of SCBWI, he currently serves as Historian of St. Louis Writers Guild after three and half years as its President. Learn more at www.bradrcook.com, on Twitter @bradrcook https://twitter.com/bradrcook, or on his blog Thoughts from Midnight on tumblr http://bradrcook.tumblr.com/

Thursday, May 26, 2016

Three Thoughts about Show Don’t Tell

Three Thoughts about Show Don’t Tell

By Brad R. Cook

Show Don’t Tell is probably the most reiterated writing rule… after write a good sentence… but what does it mean. Obviously, show the reader what the character is doing rather than tell them every action. There is so much more to this than three simple words. Show Don't Tell is easy to understand but impossible to master.

I think Anton Chekhov said it best:

“Don’t tell me the moon is shining; show me the glint of light on broken glass.”

Showing – using an active voice and giving rich descriptions to imply what is happening to a character and how those actions make them feel.

Telling – using a few words to inform the reader of what has transpired.

Here are three thoughts about Show Don’t Tell:

1 – Don’t Skip the Good Parts

Telling robs writers and readers of what they both want out of any story – vibrant descriptions that create images in their minds. Writers want to create them, it’s what we all strive to do, and readers want them out of every book they pick up. We read or write to be transported to a different world. Showing allows us to smell every scent, feel every surface, see every wonder.

Telling a scene skips over all the good parts and cuts to the bare bones of the story. Wouldn’t everyone rather have a thick, juicy, St. Louis style rib, than a bone with a little bit of meat covering it. Of course. So don’t skip the good parts. Stretch out the moment. Spend time describing the details. Make the reader feel every emotion. The book will be better and your reader will adore you.

2 – Add Rich Descriptions

Showing is all about descriptions. Use them. I’m not talking about purple prose - overly elaborate, long-winded paragraphs without any white space on the page - I'm looking for vibrant and well worded passages. Add descriptions to enrich the senses. Make every word count, make the reader cling to every moment so they pray it never ends. Descriptions are one of the best ways to show what is going on in the scene.

Don’t say he swung the sword and cut the bad guy. Have the flick of a wrist circle the enemy’s blade and thrust through his defenses to push into the thick leather armor and the flesh underneath. Show the enemy collapse on the blade. The sword penetrates the internal organs and emerge out the enemy’s back. Tell the reader how the character feels seeing the life drain from his foe. It will be a stronger scene than just saying he swung his sword and cut the bad guy.

3 – Make it a Conversation

The other technique, beside descriptions to show and not tell is to turn it into conversation. Rather than have a single throwaway line. Have two characters talk about it. Have the main character see what is happening and describe it to another. A great example of this is Ant-Man when Luis info dumps what is happening off screen. They could have had all those scenes but that would have slowed the story to a crawl. By having Luis tell Ant-Man about everything it goes from a very telling scene (literally) to a rather iconic and funny scene. Now there are calls online for Luis to recap the entire Marvel story line.

Not only do agents, publishers, and editors want you to Show Don’t Tell, the real reason we follow this writing rule is for the reader. Our job is to give readers the best, most immersive story possible. With so many books on the shelf, readers gravitate to the ones that provide a unique experience and rich descriptions are one way to impart that experience.

So spend a little time with each scene in your next manuscript figuring out where you can Show and not Tell the story.

Wednesday, May 11, 2016

Three Thoughts about Writing a Book

Three Thoughts about Writing a Book

Brad R. Cook

Everyone has a story to tell. Those of us that write them down earn the moniker – Writer. Those that persevere through the publishing process become known as Authors. Here’s the secret, anyone can write a story. As a people, we have told stories since the dawn of time. People go into work on Monday mornings and tell stories of their weekends. We tell children stories to get them to go to sleep. The trick, and why some authors get paid the big bucks, is to make it a good story.

Ernest Hemingway said, “There is nothing to writing. All you do is sit down at a typewriter and bleed.”

Stephen King said, “If you want to be a writer you must do two things above all others: read a lot and write a lot.”

Octavia Butler said, “First forget inspiration. Habit is more dependable. Habit will sustain you whether you’re inspired or not. Habit will help you finish and polish your stories. Inspiration won’t. Habit is persistence in practice.”

They said it best, but here are my three thoughts on writing a book…

1 – Be a storyteller

Writers are wordsmiths, gods of our own universes, grammar Nazis, and more, but beyond all of these we are storytellers. Learn the three act structure, the bell curve of story arcs, and writing in an active voice. These are important but what matters most is that a writer be an excellent storyteller. Everything else is fixable in edits.

2 – Write Regularly

Octavia Butler and Stephen King both emphasized this, why, because it is paramount to being an author. The only difference between wanting to be a writer and being a writer is putting words on the page. I try to write every day, when I have a deadline I will write several times a day. However, if you can only write once a week that is fine. Maybe a couple of hours every weekend is all you can manage. I promise if you stick with the writing eventually you’ll write The End, and there is no greater feeling than hitting that last period.

Guard this time like a dire wolf… everyone and everything will try and chip away at that time. The trick is to make it routine, then your muse, your body, and your mind will be ready to write when the time comes.

3 – Read

Read books in your genre, books by your favorite authors, even books on how to write. Read a variety of things, in different styles, different genres, and be certain to read for fun. Seeing how sentences are structured will improve your writing. Seeing what others are doing will let you know what are the tropes of your genre, the clichés, and what you can do that will stand out from the others.

I am a fan of authors rules, I read everyone I can get my hands on. I like to see what other writers think is important, but I also read books on writing. Like Stephen King’s On Writing, the Emotional Thesaurus, and Punctuation for Writers. But there are so many more. Remember, reading is fundamental…

So write. Revise. Write some more. Then Submit.

I leave you with this,

Brad R. Cook’s advice on writing – “The magic is in the rewriting.”

Do you have any advice for writers, a favorite book, or quote? Let us know in the comments.

Wednesday, March 23, 2016

Three Thoughts About Worldbuilding

Three Thoughts About Worldbuilding

By Brad R. Cook

Every writer creates a world, some more complex and unique than others. This isn’t just for the science fictions and fantasy writers out there. Even if you write contemporary, your world may be different from what the reader knows. Maybe they live in a different part of the country using different terms, and slang, or with unique customs. Worldbuilding may not be inventing a whole new world, but to the reader is a place they’ve never been.

If your building a whole new world, or if you’re only molding this one, here a few thoughts to keep in mind.

1 – Remember the Details

Details are everything in Worldbuilding. As a steampunk author, my novels are set in the Victorian era, a time when the modern world was emerging. It is the details I provide that recreate that world. Plus once I add the steampunk elements, I have to describe in detail what something is, or no one will understand. A lot of people might know what a carriage looks like, four wheels, a driver’s perch, and passenger compartment, but do they know what a steamcarriage looks like? With a detailed description of the sound of the engine, where it sits, and how the driver controls the carriage, the reader will understand.

Same goes with any world. A unique world is not sold by the broad strokes of a writers paint brush – like this world has wizards. What sells the reader on a unique world, and more importantly what sets your world apart from any other writers are the details. How does the wizard cast magic – with words, hand gestures, elaborate potions, magic wands, or technology? Focus on the details and worldbuilding will come more easily.

2 – May Not Use Everything

Writers can spend weeks, months, or even years creating the details for their worlds. Writers can get lost in the minutia of a world and never write a single sentence, but they are important. However, that doesn’t mean you need to include them in every scene you write. The point is to impart enough details to immerse the reader in your world. Sometimes though, a coin is just a coin, or a carriage is just a carriage. If you describe what every coin in the characters pockets looks like the reader will get bored. In my novels I describe the steamcarriage, but I only mention what the reader needs to know about the regular carriages.

I always think about JRR Tolkien when I’m world building. The Hobbit and the Lord of the Rings trilogy are wonderful books with immersive worlds filled with details and yet, if you’ve read The Silmarillion which was published by his son after Tolkien’s death, then you know he created thousands of years of history. More languages with more words than would ever be used in the books, but they were there if he needed them. As writers, we might create more than we’ll ever need, but what’s important is that the writer provides what the reader needs.

3 – Everything is Connected

Nothing in the world exists in total isolation. Okay, yes there are creatures that live in caves, or fish that only live in a single pond. But, my point is that the cultures you create interact with the cultures and the environment in which they live. Plus, even within a culture, there is change. Every culture or environment is dynamic – even elves – our own world is classified by decades. Change is what people are about. We share or steal ideas from other cultures.

Environments are even more connected than cultures. The snow pack that falls on the mountains melts into the stream, which flows into the river, and is carried to the sea. When creating your world use real natural formations as an example. One of my favorite examples is temperature. Common sense says it will be cooler up the mountain and warmer in the valley, however, cold air settles. So depending on conditions cold air can settle in low parts and be warmer at a higher elevation. It’s all about the world you create.

Remember too about rivers. Cities tend to be built on their shores, along the entire length from the mountain head waters to the deltas. Something to remember though is that trade, fishing, transportation and ideas flow upstream and downstream. There is a symbiosis to everyone along a river, whether that is for good, or through conflict.

Build your world. Populate it with unique people, and interesting technology. Your reader will appreciate it, and make them want to visit more.

What is your favorite part of Worldbuilding? Let us know in the comments.

Wednesday, March 9, 2016

Three Thoughts About Loose Ends

Three Thoughts About Loose Ends

By Brad R. Cook

Loose ends, those pesky forgotten subplots, or lost threads in a storyline. Instead of being loving tied up in beautiful bow at the end of the novel, loose ends dangle, angering readers who are left with questions and no answers.

Most often loose ends are the tragic consequence of editing, or perhaps a pantsing plotter who lost track of all the threads. Loose ends can frustrate a reader. We’ve all seen a movie with a scene that no longer makes sense, or read a book with a scene that you hope gets explained only to reach the end and never find out what it meant.

A famous example is from Star Trek II: The Wrath of Khan, a young engineer dies, and Scotty is very upset. There is even a poignant scene with Captain Kirk when the young man dies. In the theatrical release the audience is left wondering why everyone is so moved by the young man’s death. It isn’t until an extended cut that we get an earlier scene where we learn the young engineer is related to Scotty, thus making his death ever more tragic.

Here are my three thoughts about Loose Ends:

1 – Don’t do it!

If you can, try to avoid loose ends. Try to resolve all the subplots that are created. This will leave the reader without any questions at the end of the book. This doesn’t mean you shouldn’t end the book with a cliff hanger, or a mystery for the sequel. What I’m referring to are unanswered questions within your narrative. By tying up all the loose ends, the story will appear complete, and not hap-hazard.

I also enjoy Zelda Fitzgerald’s quote – “It is the loose ends with which men hang themselves.”

Something for all writers to consider.

2 – Make it a short story

If you find that your book does have a mystery left unanswered, it’s not the end of the world, in fact it can be an opportunity. I love short stories that are compendiums to novels. Not only is it a good way to give the reader more of the story, but they can be great for marketing. Loose ends, or unanswered mysteries, make for great short stories. The writer can go into more depth and provide a deeper tale that might have slowed down the novel.

TW Fendley who also writes for the Writers Lens did something similar with her book Zero Time. This isn’t quite a loose end, but in this great book, there are two jaguars at the beginning. In a subsequent short story Jaguar Hope, she gives a whole story to the jaguars. Not only does it answer questions readers had in Zero Time, but it’s a wonderful tale that brings more depth to her universe. Check them out here.

3 – Loose Ends are not Open Endings

I’m talking about unresolved subplots, not open endings, or endings that ask questions. Those are a whole different blog post. It is perfectly okay to end with a question. Open endings, or endings that ask the reader to think can be wonderful. They ignite the reader’s imagination. What happens next? What comes the day after happily ever after? What lies under the sunset? These are all good questions – what you don’t want to hear – Where did he get that gun? But what happened to that one character? But…but… what about the dog? Did the people get out before the building blew up?

Tie up the loose ends and satisfy your readers. They’ll thank you, and not hurl your book in frustration.

Do you have a favorite frustrating ending or unanswered subplot from a novel or movie? Let us know in the comments.

Wednesday, February 10, 2016

Three Thoughts... from Other Writers, Part II

Three Thoughts… from Other Writers, part II

By Brad R. Cook

Last week, I posted three thoughts from other authors about writing. I liked it so much I wanted to do it again. This time, though, to honor Black History Month, I bring the sage advice of three of my favorite African-American Authors – Zora Neale Hurston, Maya Angelou, and Octavia Butler.

1 – “Research is formalized curiosity. It is poking and prying with a purpose.

– Zora Neale Hurston

2 – “The idea is to write it so that people hear it and it slides through the brain and goes straight to the heart.

– Maya Angelou

3 – “First forget inspiration. Habit is more dependable. Habit will sustain you whether you’re inspired or not. Habit will help you finish and polish your stories. Inspiration won’t. Habit is persistence in practice. – Octavia Butler

I will never forget reading Their Eyes Are Watching God by Zora Neale Hurston in high school, it was the first book to really touch my soul, and taught me the power of books. Maya Angelou is one of my favorite poets. Her work taught me how words should flow. I was never much of a poet until I started reading her poems. I’ll never write poetry like her, but when I do, I try to channel her power. I will admit that I am new to Octavia Butler, I knew of her, of course, but I didn’t really learn about her until a recent Write Pack Radio episode honoring her life. She is an amazing lady and author, and her books are now in my to-be-read pile. But this quote speaks to me as a writer, and so I pass it on to you.

One more just for fun, he isn’t American so I didn’t include him in the official three but here is a great quote from Dumas. Something to remember about all the advice you’ll find online. “All generalizations are dangerous, even this one.” – Alexandre Dumas

Wednesday, February 3, 2016

Three Thoughts... from Other Writers

Three Thoughts… from Other Writers

By Brad R. Cook

I’ve been bringing you my thoughts on writing, so this week I thought I’d share what other writers think about the craft. Here are three different authors advice on writing – in convenient graphic form. By the way, there are hundreds of these on the internet. I’m a big fan of them, and I will post these as my background to remind me that all writers have similar struggles.

1 – I write to give myself strength. I write to be the characters that I am not. I write to explore all the things I’m afraid of. – Joss Whedon

2 – Don’t tell me the moon is shining; show me the glint of light on broken glass. – Anton Chekhov

3 – If it sounds like writing, I rewrite it. Or, if proper usage gets in the way, it may have to go. I can’t allow what we learned in English composition to disrupt the sound and rhythm of the narrative.

– Elmore Leonard

What is your favorite writing mantra from a famous author? Let us know in the comments.

Wednesday, January 27, 2016

Three Thoughts about… Dialog Tags

Three Thoughts about… Dialog Tags

By Brad R. Cook

They’re the tiny little sentences that let us know who is talking. Dialog tags should be the easiest part of writing, but are difficult to master. Writers try to be clever. Turning these tags into everything from the purplest of prose, to the repetitive monotony of He said / She said.

1 – Said is Not Dead

There is nothing wrong with just using He Said / She Said / I Said. The reader should be focused on the dialog not the tag, because that is where the story is happening. There are memes out there filled with other words to use like… He espoused, She remarked, I exclaimed… there are hundreds of adverbs you can add like He said loudly, She asked excitedly, I hurriedly replied… but all of these are unnecessary. Here’s the secret – Said is invisible – readers pass right over the word without pausing. The reader should be paying attention to the conversation and the tag is just there to let them know who is talking, especially if there are more than two characters in the room. Just use said, and wow the reader with an amazing conversation.

2 – Action is Better

Another way to avoid a page full of He Said / She Said / I Said is to use action to let the reader know who is talking. Actions also fill in the gaps between lines of dialog. Rarely do people just stand around talking without moving. We flip through our phones, cross the room, fiddle with our clothes, scratch our faces, or any number of actions that will help push the story along. If you want you can even combine 1 & 2… “*Dialog*,” he said, crossing the room to pick up his phone… or just say, He crossed the room and snatched his phone, “*Dialog*.”

3 – Tags Aren’t Needed

Here’s the real trick, when you have mastered dialog, you might not even need a tag. If there are only two characters in the scene then every line won’t need a tag. Establish the order and the reader will be able to follow the back and forth. However, if each character has a distinctive voice, either through an accent, or easily identifiable speech pattern, then the reader will know who said what from the dialog. Or you can just be like Hemingway and refuse to use them.

“I hope this helps,” he said. “You may have a preferred way of using dialog,” he said, knowing everyone writes differently. His lip turned up in a slight smirk, “let us know your go-to dialog tag, or preferred method of identifying characters, in the comments.”

A quick note about Dialogue vs. Dialog:
I chose to use dialog because when I talk about dialog tags it's my preferred word. Not sure why, but it is. If I were talking about opening a dialogue between two people, I would use dialogue. I get that this is part of the British English vs. American English phenomenon. But as they say, the point is not which one you use, but to be consistent. Feel free to sound off about dialogue vs. dialog in the comments.

Wednesday, January 20, 2016

Three Thoughts About… Swords and Swordfights

Three Thoughts About… Swords and Swordfights

By Brad R. Cook

Every book has one… don’t they? Every book should have at least one, it’s a sword, and swords are awesome. And if you have a sword, more than likely one of the characters is going to want to fight with it. Here are a few tips on swords, and how to use them.

A short bio about me, first, almost every book I’ve ever written has had a sword. Not that having them in books qualifies me or anything. I started swinging them when I first picked up a lightsaber years ago, but I officially started at thirteen when I learned to fence. I’ve never set down my sword, and today, I even give workshops on sword-fighting. I’ve studied many forms and styles from medieval broadswords to the katana, from sabers and rapiers, to great swords and the gladius.

Three things to remember about the weapon itself:

1 – Different types of swords are used in different ways

A rapier is a thrusting sword, the point is to drive the tip into the opponent, whereas a katana is slashing weapon and the goal is to slice through the opponent. The way a warrior holds the sword, they way they stand and move will be different for each weapon. If you have a Musketeer slicing through the limbs of all the Cardinal’s men, I will write an angry letter.

2 – When a sword hits another sword it dulls the blade

Hollywood has given us the classic image of two swordmasters clashing in combat. Swords flying about making whooshing sounds and clanking in a flurry of strikes – but I love Errol Flynn movies too. Reality is a little different. In real life when one blade strikes another it nicks the blade, dulling the edge, and gouging metal out of the sword. Some blades have thicker duller areas along the blade for parrying; other styles of sword fighting put an emphasis on not hitting the blade but finding an opening in the opponent’s defense. Just know that a swordsman might have to get a new sword, or at least get his sword sharpened after major battles.

3 – Swords are made in different ways

Some swords are poured, as liquid metal is fed into a mold, and once cooled the mold is broken open to reveal the sword. Some swords are hammered, as a piece of steel is drawn out to a certain length and sharpened. Some are truly forged, a certain level of carbon is added, the steel is folded to gain strength, and then hammered to a certain length and quenched in water or oil. Some swords are flexible, bending and snapping back into place. Others are rigid and designed to punch through armor. Knowing how a sword was made will give insight on how it can be used, how it will act in a fight.

Three things to remember about sword fights:

1 – The terrain or setting is an important as the swords

Where a sword fight is set has such an influence on the way a duel unfolds. One of the things I loved about Highlander, the movies and the TV show was the varying locations they used for their duels. Uneven terrain means the fighters will have to watch their footing; high ground becomes important to the style of fight used. A long corridor will prevent circling an opponent, whereas an open courtyard will give warriors a chance to move around. Think about where you set a sword fight, and make it part of the scene. Let the location be a character in the scene.

2 – Sword fights don’t last that long, and have little dialog

I love The Princess Bride, the duel between Inigo and the Man in Black is one of the best sword fights in cinema. But, it’s kind of long especially for a guy who just scaled a cliff, and they talk through the whole thing. I’m not saying people don’t talk but as a friend of mine often demonstrates, try having a conversation while running at top speed. Sword fights are very physical and stressful events. Wit is usually for before the fight to psyche out an opponent. Sword fights take concentration and focus. Because they are so physical, and because swords can dull or break in a fight, they tend not to last for hours. A fencing match is five minutes long. There is a Japanese art that focuses on killing from the draw. I’ve always liked the duel in The 13^th Warrior, it is brutal, several shields are destroyed, the talking is in the lull of the fight, and the whole scene is only a few minutes long – it has a great ending too.

3 – Sword fights are all about openings in an opponent’s defense

For writers who find themselves crafting a duel, I give this piece of advice – focus on finding the openings. Every duel is a waiting game. Every strike, slash, and thrust is a way to pull the opponents sword away to create an opening in their defense. Once an opening is spotted the hero can thrust or slice, making contact and ending the duel. Battering through an opponent’s defense is certainly a strategy, but I guarantee in doing so the aggressor is leaving a weak spot in their defense that can be exploited. In fencing or dueling often a point is scored, or first blood is drawn, by feigning a thrust to one side, drawing the opponent’s sword over to parry. Then dropping the blade, slipping over to another line, and driving the blade through their defense and into the opponent’s chest. Don’t focus on beating through the other sword, but finding an opening and using it to gain victory.

I hope these tips help with the next sword fight you find yourself writing.

Brad R. Cook, author of the YA steampunk series, The Iron Chronicles. Iron Horsemen - http://www.amazon.com/Iron-Horsemen-The-Chronicles/dp/0989207951 and Iron Zulu - http://www.amazon.com/Iron-Zulu-Book-Two-Chronicles/dp/0989207978. He currently serves as Historian of St. Louis Writers Guild after three and half years as its President. Learn more at www.bradrcook.com, on Twitter @bradrcook https://twitter.com/bradrcook, or on his blog Thoughts from Midnight on tumblr http://bradrcook.tumblr.com/