Crossing GenresCrossing Genres in Writing More Like This
Every genre has core elements that make that genre that genre. In order to Cross Genres properly, you need to know each of your genre's distinctive elements and make them Equally Important in the story.
Simple, no? However...
One of the most common mistakes I've seen in every genre of fiction: IGNORANCE.
"Most of the common mistakes come with any writing that isn't so goodbad characters, bad plots, bad writing. The ones which are peculiar to alternate histories (fantasy and sci-fi) are bad research and bad extrapolation."
-- An Interview with Harry Turtledove --
How do you expect to cross genres properly if you don't even know the genres you're working with? Contrary to popular belief, even if you're writing pure Heroic Fantasy, just making it up as you go is NOT good enough!
On writing Heroic Fantasy
"The consequence of making that assumption is, inevita
The LAYERS of FictionThe LAYERS of Fiction in Writing More Like This
"If you have Action and Dialogue, do you really NEED Description too?
What is the difference?"
The Layers of Fiction
"Himawari-chan, I have your lunch!"
"Here you go Himawari-chan!"
"Thank you, Watanuki-kun!"
"You are very welcome, Himawari-chan."
"I see. Of course. Thank you, Yuuko-san. Do I need to tell you what she said?"
"No! No, you don't, and I don't want to hear it! I don't need a freaking baby-sitter!"
"Yuuko thinks you do."
"That's her! Not me!"
"Are you a fortune-teller?"
"No! Of course not!"
"I'll come get you after class. I'll get the instructor to let you wait while I practice."
"What? No! I said I don't want to wait !"
"You gonna eat that?"
"Yes I am!"
"I do not, not, NOT take orders from you!"
This is "Talking Head Syndrome." There are no dialogue tags, because I don't use them.
The DUAL-NATURED CharacterThe DUAL-NATURED Character in Writing More Like This
Building the DUAL-NATURED Character
Let's start this lecture with a HUGE secret:
-- There are Three Essential Characters in every story:
> Adversary The one causing all the trouble.
> Proponent The one trying to keep things the way they are.
> Ally The close companion of one or the other caught in the middle.
In other words, you can tell any story with ONLY these Three Characters; perhaps not with any real detail, but you could still do the entire basic plotline.
And each essential character is governed by one of three SPECIFIC aspects, or Drives:
> MOTIVE - Driven by a REASON to Make something happen, such as Revenge.
> ACTION - Driven by the need to ACT, normally because if they don't they die, but an incentive such as a Reward or Prize works too.
10 Second Tip - Foreshadowing10 Second Tip - Foreshadowing in Writing More Like This
I hear the term 'foreshadowing' a lot. That's when you hint at stuff to come, right? So yeah, but how do I DO it?
Foreshadowing is when the opening scene of a story is a kind of nutshell prophecy for the whole story.
* In a Horror, this is when the originating Bad Thing happens.
* In a Mystery or Crime story, it's when the first victim is slain, and/or object (McGuffin) goes missing.
* In a Romance this is where the main character meets their soon-to-be lover for a fleeting but memorable moment.
* In a Sci-fi, this is where the ruling Theory is presented.
* In a Gothic, this is where the main character transforms into a monster for the first time.
This also reveals the Premise, or ruling argument that the story is trying to illustrate; what the story is trying to Prove.
The results of Revenge
The path of Ambition
The reality of Love
The sacrifices one mak
Sentence Structure for FICTIONSentence Structure for FICTION in Writing More Like This
On Basic Sentence Structure for Fiction
(Grammar Nazis BEWARE!)
Everything I ever learned about writing Fiction DIDN'T come from school; not even college. In fact, the way one writes fiction is almost the complete opposite of everything I learned in school about writing.
In order to make my stories crystal clear in my readers' imaginations, I write in precise Chronological Order, in the order events actually happen, PLUS in the order that the eye sees it.
Case in point, when describing a character, I describe them from top to bottom, in the order that the eye notices them. Face, hair, upper body, arms, hands, then lower body, legs, feet, then over all impression.
High Speed STORIESHigh Speed STORIES in Writing More Like This
When you absolutely, positively, HAVE to get the story done.
The trick to speed-writing is to Plan the story out first, more commonly known as PLOTTING.
"Diabolic" was written in 30 days -- all 15 chapters at 2500 to 3000 words per chapter, adding up to around 80k (thousand) words. A novel is 90k to 100k. I was able to do this because I already knew my main characters really well, (Vincent and Sephiroth of Final Fantasy VII,) and I knew where my story ENDED. Basically, once I knew where I wanted to go, all I had to do was figure out how to get there.
Note: If you're interested, DIABOLIC can be found at Media Miner. The 'Search' feature is your friend!
The plot outline I used only had 5 points:
1. Beginning - The Main Character gets involved with the Villain or Lover.
2. Complications - The situation worsens.
3. Emotional Turning Point - Panic Attack! Fear and/or Guilt vs. Desperation
4. Reversal - The wor
The Subtle STATIC TRAITThe Subtle STATIC TRAIT in Writing More Like This
The Subtle STATIC TRAIT
Secret Weapon of the Clever Writer
The Static Trait is the small personal HABIT an individual character displays which reveals their personal Neurosis, their driving NEED, especially in stressful situations. This habitual or even ritual behavior acts as both their greatest source of trouble and the linchpin to their success. It's the individual character's "Accident Waiting to Happen".
The most obvious place to find visible Static Traits is in both Comedies and Tragedies. These stories (and movies) RELY on their characters' Static Traits to linchpin the plot.
What made Laurel and Hardy so funny, were the little neurotic habits -- the static traits -- that would appear under stressful situations. Abbot and Costello built whole routines on Bud Abbot's little twitchy responses. The climactic scene in every one of their movies involved Abbot in a panic attack. You spent half the movie going "Oh no! Don't! Don't! Don't!...AH! He did
Interior MonologuesInterior Monologues in Writing More Like This
"I was just wondering what you think about interior monologues, long passages of reflection?" -- Curious Kitty
A note on:
-- Interior Monologues
Whether you are considering adding a lengthy monologue to a story, or intend the monologue to be the story itself where the focus of the entire story is on one character's thoughts and feelings with very little action -- from my observations and experimentation, the readers either love them or hate them. There's no in-between.
However, it is notable that the internal monologue stories that are sought out most frequently tend to focus on a profound emotion of some kind: grief, loneliness, heartache... Usually by either those seeking to deal with such an emotion, as a kind of therapy, or by those that have never felt such emotions. (Strong emotional stories are extremely popular among young adults.)
In both cases, not only does the reader seek to submerge the
The NonVerbal ThesaurusThe NonVerbal Thesaurus in Writing More Like This
Not spoken > Body Language.
Latin thesaurus, treasury, from Greek thesauros.
n. pl. thesauri (-sôri) or thesauruses
1. A book of synonyms, often including related and contrasting words and antonyms.
2. A book of selected words or concepts, such as a specialized vocabulary of a particular field.
The American Heritage® Dictionary of the English Language, Fourth Edition copyright ©2000 by Houghton Mifflin Company. Updated in 2009.
Dialogue is VISUAL
-- Not just a bunch of words.
Watch the average conversation between two people. 90% of that conversation isn't in what's Spoken, it's in what they are DOING while they are speaking. It's in their Body Language. Body-language cues in your story alert the reader by SHOWING them what is going on in a character's head without Telling t
STUCK on a Short Story?STUCK on a Short Story? in Writing More Like This
10 Second Tip:
Stuck on a SHORT Story?
Stuck on what to put in your story?
-- This is the list of things I check off when I create a story:
Do you have a Setting in mind?
- Modern day
Do you have ONE big main event for the story to focus on?
- A battle
- An escape
- A love scene
- An act of revenge
- A sacrifice
- A treasure to claim
- A magic spell
- A transformation
Do you know what you want to SAY with your story?
- Love sucks.
- Friendship is forever.
- No good deed goes unpunished.
- A snake can only ever be a snake.
- Sometimes you have to take chances.
- Magic makes things worse, not better.
Do you know where you want to END your story?
- A wedding?
- A funeral?
- A bloody battlefield?
- An empty street?
- The bottom of an ocean?
Do you have your three central characters ready?
-- Just to make things interesting, any one of t