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What Are Descriptive Adjectives?

I’m sure many of you remember learning about adjectives at school. But can you remember what they are, as well as why we use them and when? And what is a descriptive adjective? Why is it important that we, as writers, use them? In the following guide, we’ll tell you exactly what descriptive adjectives are, the different types of descriptive adjectives, and how to use them effectively in your work. We’ll even provide you with a descriptive adjectives list to give you plenty of ideas for making your writing stronger. What is a Descriptive Adjective? A descriptive adjective is one that modifies a noun by describing it. Let’s look at a couple of examples: The house was huge.Peter loved chewy sweets. The descriptive adjectives in these two sentences are huge and chewy. From the word huge, we now have an idea in our minds about the size of the house. We also know the type of sweets Peter likes from the word chewy.  Perhaps it’s all coming back to you now, and you’re remembering that adjectives are describing words. There are many different types of adjectives, but descriptive adjectives form the most comprehensive group. Here are a few examples of non-descriptive adjectives: Demonstrative adjectives Where did you find this book? How much is that ring? These photos are clear. Distributive adjectives Either tool will work. Neither tool was successful. Every shop is open. Quantitative adjectives The sun was shining throughout the whole day. We need more resources.   I’ve eaten enough chips.   Possessive adjective Those are your dogs. I want to eat my dinner. I like our car. Interrogative adjectives Whose socks are those? What magazine are you buying? Which chair is broken? These examples differ to descriptive adjectives because no information is given about the noun that’s being modified. Taking the last example, we don’t know what colour the chair is, what material it’s made out of, if it’s a dining chair or one used for another purpose.    Types of Descriptive Adjectives Various references highlight that there are thirteen different types of adjectives. Examples of some of them have been detailed above, but here’s the entire list: Attributive adjectivesComparative adjectivesCompound adjectivesDemonstrative adjectivesDescriptive adjectivesDistributive adjectivesInterrogative adjectivesLimiting adjectivesParticipial adjectivesPredicate adjectivesPossessive adjectivesProper adjectivesSuperlative adjectives In this article we’re going to focus on descriptive adjectives, and how they provide additional information about the associated noun by describing its characteristics or by altering it. This is especially useful in writing when we’re trying to create a picture in the reader’s mind. For example, if you’re writing a ghost story that takes place in a house, and you want the reader to feel goosebumps, you might describe the house as eerie: Sarah looked up at the eerie house. Or if you want to describe another type of house to create a contrasting feeling, you can use a different descriptive adjective. For example: Sarah saw the beautiful house. Both descriptive adjectives portray very different houses. Perhaps your story has a scene that takes place by the sea. See how these two descriptive adjectives once more bring contrasting images of the same noun to mind, just by using different descriptive adjectives: Peter walked into the freezing sea.Peter walked into the balmy sea. As you can see, descriptive adjectives can help to bring your writing to life. Descriptive adjectives can be placed into sub-categories, as follows. Comparative Descriptive Adjectives This type of descriptive adjective is used to compare one noun with another. They have comparative versions. For example: Calm and calmerBig and biggerStrong and strongerDim and dimmerTall and tallerPretty and prettierThin and thinnerQuicker and quickerSoft and softerHappy and happierSilly and sillier Some comparative descriptive adjectives use two syllables, generally the words ‘more’ or ‘less’, to form the comparative term. For example: More beautiful (or less beautiful)Less interesting (or more interesting)Less tired (or more tired)More clever (or less clever) Here are some examples of how to use comparative descriptive adjectives in a sentence: The new car is bigger than the old oneThe latest model is more expensive than similar modelsMy new towels are softer than my other towels.This swimming pool is deeper than other swimming poolsHis phone was cheaper than his previous one.Some athletes can run faster than other athletes.This book is lighter than that bookHer new television is heavier than her last oneThe old curtains were thicker than the new onesTheir holiday was less expensive than similar holidaysThe table over there is stronger than this tableThe new boy is more difficult than the other boys Superlative Descriptive Adjectives Superlative descriptive adjectives are similar to comparative descriptive adjectives, but they relate to the highest/lowest level of comparison. For example: ColdestQuietestShiniestLongestCurliestBrightest Let’s look at how these can be used in a sentence: The new car is the biggest I’ve ever owned.The latest model is the most expensive ever built.His cauliflower was the smallest in the produce show.This holiday is the cheapest I’ve ever had.She was the least famous person in the room.That tree is the tallest in the world.The horse was the slowest in the race.Her shopping bill was the least expensive one she’d ever had.The cake was the creamiest one in the shop.She was the oldest teacher in the school.He was the cleverest chess player in the club.She was the youngest entrant in the competition.It was the most wonderful experience he’d ever had.The test was the easiest one he’d ever taken.The coffee they sold was the strongest in the city.  Positive Descriptive Adjectives Positive descriptive adjectives describe a person, place, thing, idea, orexperience in a good, positive way. This type of adjective isn’t used for comparison. Here are a few examples of positive descriptive adjectives: AmazingAmbitiousAmusingBecomingBlissfulBoldCarefreeCaringCharismaticDazzledDeluxeDynamicEnchantingEnergeticExcitedFabulousFearlessFunGlowingGracefulGenerousHappyHeavenlyHelpfulIllustriousInspirationalInspiredJollyJovialJubilantKeenKindKnowinglyLavishLoyalLuckyMagicalMemorableMiracleNeatNiceNoticeableOriginalOutgoingOutstandingPerfectPolitePositiveQuaintQuick-wittedQuietRadiantReliableRichSafeSereneSuperTastyThankfulTrustingUltimateUniqueUpliftedValiantValuableVibrantWarmWiseWorthyXenial (hospitable)Xenodochial (friendly)YoungYouthfulYummyZanyZestfulZing Let’s put a few of these into practice: The boy was happy.Her test score was perfect.His room is neat.The town is quaint.Their pudding tastes heavenly.The holiday was magical.The nurse was kind.The coat is zany.The old man’s book was valuable.Her steak was tasty.The woman’s face is glowing. Examples of Descriptive Adjectives We’re now going to give you a list of descriptive adjectives to use in your writing: AdorableAdventurousAgreeableAliveAloofAmusedAngryAnnoyingAnxiousArrogantAshamedAttractiveAuspiciousAwfulBadBeautifulBeigeBlackBlueBlushingBoredBraveBrightBrownBumpyBusyCalmCarefulCautiousCharmingCheerfulCleanClearComicalCongenialCordialCrazyCrookedDecayedDeliciousDeterminedDilapidatedDistraughtDimDizzyDrabDreadfulDrollDullElatedElderlyEmaciatedEmbarrassedEnormousEnthusiasticEnviousExultantFancyFantasticFilthyFlatFreshFriendlyFuzzyGhastlyGiganticGlamorousGleamingGreasyGreenGloriousGorgeousGrubbyGrumpyHandsomeHelplessHighHollowHomelyHorrificHotIcyIdealImmenseIrateIrritableItchyJealousJitteryJocularJuicyJumboJumpyKindKnottyKnowledgeableLargeLazyLethalLittleLivelyLonelyLowLudicrousMagnificentMammothMassiveMiniatureMinisculeMinuteMistyModernMoodyMuddyMysteriousNarrowNastyNaughtyNervousNonsensicalNutritiousObedientObliviousObnoxiousOctagonalOddOpulentOrangeOutrageousPetitePlainPleasantPoisedPompousPreciousProudPungentPurpleQuickQuietQuizzicalRainyRectangularRedRelievedRepulsiveRipeRobustRottenRoughRoundSaltySarcasticSelfishShakySharpShortSilkySillySkinnySlimySlipperySmallSmarmySmilingSmoothSmugSparklingStaleSteepStickyStrangeStunningTanTartTeakTenderTenseTerribleThickThoughtfulThoughtlessTriangularThrilledTightUglyUnbelievableUpsetUnimaginableUnsightlyUnusualUptightVastVexedVictoriousVitalVivaciousVividWackyWealthyWearyWetWhoppingWittyWonderfulWobblyWoodenWorriedWretchedXenialYellowYoungYummyZanyZippy Compound Descriptive Adjectives Compound descriptive adjectives are where two words are used toform the description. The following are some examples of compound terms: All-inclusiveBaby-facedBad-temperedBrightly-litBroken-heartedBullet-proofCold-bloodedCross-countryDeeply-rootedDensely-populatedEnglish-speakingFast-pacedFour-sidedFull-lengthGreen-eyedHeavy-handedHigh-heeledHigh-spiritedIce-coldKind-heartedLife-givingLong-lastingLong-windedMiddle-agedMouth-wateringNarrow-mindedNever-endingNext-doorOld-fashionedOpen-mindedPart-timeRed-bloodedSelf-centredShort-hairedShort-temperedSure-footedTen-minuteThick-skinnedThought-provokingTight-fistedWell-behavedWell-educatedWell-knownWorld-famousYellow-stripedYoung-hearted Descriptive Adjective Rules and Best Practices We’ve given you lots of different examples of descriptive adjectives, but there are some rules to follow regarding their use. When you’re writing a sentence, it’s important that descriptive adjectives are used in the correct adjective order. Descriptive adjectives come after limiting adjectives (which define the noun rather than describing it. ‘Articles’ are examples of these - ‘a’, ‘an’ and ‘the’). For example, we would write Sally ate a delicious cake. If we wrote Sally ate delicious a cake, it wouldn’t make sense. Here are some more examples: She wrote three long books (good)She wrote long three books (not good) Keith ordered some new furniture (good)Keith ordered new some furniture (not good) The cat jumped up a tall tree (good)The cat jumped up tall a tree (not good) From these examples, we can see how important correct adjective order is. If it isn’t written correctly, it’s confusing. It becomes even more difficult to understand when more than one descriptive adjective is used to describe the noun. Let’s look at a few examples: The English angry little man was hungry (not good)The little English angry man was hungry (still not good)The angry little Englishman was hungry (better) Steven was eating a sugary huge cream cake (not good)Steven was eating a cream huge sugary cake (still not good)Steven was eating a huge sugary cream cake (better) She was reading the non-fiction old, battered book (not good)She was reading the battered non-fiction old book (still not good)She was reading the old, battered non-fiction book (better).   Descriptive adjectives enhance our writing, but it’s very easy to overuse them. So think carefully about which descriptive adjectives to use to be the most effective. Using lots of descriptive adjectives to describe one noun isn’t always better. For example: The boy has a brilliant bright wide infectious smile. If you use too many descriptive adjectives, the word being described can become lost. Two descriptive adjectives in this instance would be enough: The boy has a wide infectious smile. In some cases, using one strong descriptive adjective can paint a picture in the reader’s mind more vividly than using two or three. We’ll look at a couple of examples: The girl opened her mouth and out came a loud high-pitched scream.   We can imagine what the scream would sound like, but using just one, more powerful descriptive adjective can make us almost hear it for ourselves: The girl opened her mouth and out came a piercing scream. Example two: The miserable cross teacher moaned at us. From this description, we know the teacher isn’t very happy. But we can swap one word for the two descriptive adjectives to create a more vivid image of the teacher and how they are feeling: The grouchy teacher moaned at us. Descriptive Adjectives in Literature Descriptive adjectives play a big part in our writing, but it’s important to understand them and their use – and understand how they can bring your work to life. Here are some examples of quotes by famous writers, who – by simply adding a few adjectives – fill our minds with vivid imagery!“...his voice was like the cracking of ice on a winter lake, and the words were mocking”― George R.R. Martin, A Game of Thrones “Kylpaitryc\'s eyes streamed tears as he coughed explosively on harsh, sinus-raping smoke.”― David Weber, At the Sign of Triumph“Even in its first faint traces, love could alter a landscape. It wrote unimagined stories and made the most beautiful, forbidding places.” —Anna-Marie McLemore, Wild Beauty “My sister, Mrs. Joe, with black hair and eyes, had such a prevailing redness of skin that I sometimes used to wonder whether it was possible she washed herself with a nutmeg-grater instead of soap. She was tall and bony, and almost always wore a coarse apron, fastened over her figure behind two loops, and having a square impregnable bib in front, that was stuck full of pins and needles.”—Charles Dickens, Great Expectations Conclusion We hope you have found this article useful, and now, whenever you’re looking for descriptive words to bring your writing to life, you have the perfect reference guide to turn to. Hopefully our descriptive adjectives examples will have inspired you and ignited your creative juices! Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community. 

Symbology in Fiction

What does ‘symbology in fiction’ mean? And how can you utilize literary symbols in your work and strengthen your storytelling?  If you’re ever lucky enough to travel to Bergen in Norway, (which, by the way, I would highly recommend) you’ll likely find yourself amongst brightly-coloured buildings packed tightly together as if bracing themselves against the wind and rain (the weather can get fairly atrocious). This is the UNESCO World Heritage site of Bryggen Hanseatic Wharf (Tyskebryggen).   The buildings are restaurants, studios, workshops, and boutique shops, but once they were merchant houses, many of which still have distinct symbols on them. Why symbols, you might ask? Because these buildings date back as far as the 14th century, to a time when many people couldn’t read, and the symbols made it easier to find which house or place of trade they were looking for.   Symbols have been used, one way or another, since the beginning of time - and that still remains when it comes to writing.  In this blog post I’ll further explore the use of symbols and symbolism in literature, as well as looking at how their uses benefit both readers and writers.  Symbology vs Symbolism The use of symbols in the example above is a fairly obvious one, for an equally obvious reason. But even today, supermarket chains, for example, have distinct branding or logos. These are used to distinguish themselves from competitors and are often in bright colours, sometimes even with a little picture.   My three-year-old pointed out to me the other day that the four yellow dashes above the bright green letter ‘A’ in ASDA look like the sun rising above a field. I must have seen that logo a hundred, maybe even a thousand times, and never noticed. Now I do. Is he right? Maybe. Does it matter? Not at all. What matters is that it’s a symbol we recognise and can distinguish from others.   More recently, the rainbow, a symbol of hope and promise, has become synonymous with the UK’s NHS and the nation’s support of all the hard work that is being done by healthcare workers during the pandemic. It’s also synonymous with the LBTQ+ community. Everybody knows that rainbows are positive and happy symbols.  A red rose symbolises love and romance; a four-leaf clover is supposed to bring us good luck; green means go, and red means stop. These are all examples of symbols that have become ingrained in our everyday existence.   But what does all of that have to do with writing? And what is the difference between symbology and symbolism?   To put it simply, here\'s our definitions of symbology and literary symbolism:  Symbology is the study and use of symbols, whereas symbolism is the representation of a concept through symbols. Let’s look at birds as an example. Doves, usually white in colour, are used to represent peace or love; artists make use of owls to symbolise wisdom, and ravens – with their black plumage, croaking call, and diet of carrion – are often associated with death, loss, ill omens and lost souls.   Types of Symbolism There are many different types of symbolism that we writers use in our work. Let’s look at a few of the most common ones. Simile As brave as a lion, as strong as an ox, as big as an elephant; these are all examples of similes, which is a figure of speech involving the comparison of one thing with another thing of a different kind, used to make a description more emphatic or vivid. A lion is renowned for being brave and courageous, so making this direct comparison is a way in which to show meaning through a well-known symbol. Metaphor Whereas a simile compares two separate things, a metaphor is a figure of speech in which a word or phrase literally denotes one kind of object or idea and is used in place of another to suggest a likeness or analogy between them. For example, in Shakespeare’s ‘Romeo and Juliet’, Romeo says: “What light through yonder window breaks? It is the East, and Juliet, the sun!”  \'Romeo and Juliet’ by Shakespeare Juliet is not literally the sun and Romeo knows that Juliet is not literally the sun, but this demonstrates he compares her to the sun, thinks her what the sun symbolises: beauty, strength, awe, a life-giving force. Allegory The word allegory has a long history. The first evidence of its use in the English language is in the late 14th century and comes from the Latin word allegoria, which in turn is the latinisation of the Greek word ἀλληγορία (allegoría), meaning veiled language or figurative. That word comes from both ἄλλος (allos), meaning another, different and ἀγορεύω (agoreuo), which is to harangue, to speak in the assembly, which originates from ἀγορά (agora): assembly.   A modern definition is: a story, poem, or picture that can be interpreted to reveal a hidden meaning, typically a moral or political one.   George Orwell’s Animal Farm, where each animal is a representation of a different political faction, is an example of an allegory. Another is The Faerie Queene by Edmund Spenser (which symbolises the moral and spiritual journey of an individual through innumerable temptations of sins towards the ultimate attainment of glory and truth), or Aesop’s Fables (such as the tale of The Tortoise and the Hare, where the tortoise wins because he’s slow and steady). Archetype In its most basic definition, an archetype is a typical example of a person or thing. In literature, there are four main archetype options, each with many examples. I’ve listed a few below, but there are many more.   Character archetypes: The hero – the main character who often has a task/journey to complete. The Outcast – someone living on the outskirts of society, sometimes, but not always, for something that isn’t his/her fault.  Star-Crossed Lovers – lovers who are destined not to be together.   Situational archetypes: The Battle of Good and Evil – a battle in which good triumphs over evil.  The Hero’s Journey – the journey, physical or emotional, that the main character must complete.  Rags to Riches or vice versa – a character rises from a lower position in society to a better one, or vice versa.   Setting archetypes: The Garden – symbolises love and fertility. The River – water symbolises life and a river can show life’s journey or boundaries. The Small Town – a place where everyone knows everyone and generally depicts intolerance.   Symbolic Archetypes: Hourglass – the passing of time.  Heart – love. Square – stability.  Hyperbole Exaggeration can be used to reflect how someone feels. These are not statements or claims that are meant literally, but instead used to symbolise meaning. An examples of this could be ‘I’ve told that story a thousand times’ or ‘There’s enough food to feed an army’. The speaker hasn’t literally told the story a thousand times, but maybe feels she has. In the second example, whether it be a good thing or not, there’s a lot of food to be eaten.   There are many more types of symbolism in literature, such as allegory, archetype, personification and irony. Symbolism in Fiction Many writers make use of symbolism in their fiction to paint a brighter picture, or add depth or tension.   In The Scarlet Letter by Daniel Hawthorne, Hester Prynne, a young woman in 17th Century Puritan Boston, Massachusetts, is punished for giving birth to a daughter as a result of adultery. She is made to stand on a scaffold for three hours, subjected to public humiliation, and made to wear the letter A for the rest of her life.  “They averred that the symbol was not mere scarlet cloth tinged in an earthly dyepot, but was red-hot with infernal fire, and could be seen glowing all alight whenever Hester Prynne walked abroad in the nighttime. And we must needs say it seared Hester’s bosom so deeply, that perhaps there was more truth in the rumor than our modern incredulity may be inclined to admit.” The Scarlet Letter by Daniel Hawthorne The letter ‘A’ initially means adultery and penance, but as the novel progresses it takes on different meanings for different people. For some, ultimately, after Hester spends a lot of time as a visitor in homes of pain and sorrow, the ‘A’ means Angel. Grief is the Thing with Feathers, by Max Porter, makes strong use of symbolism     “BOYS There’s a feather on my pillow.  Pillows are made of feathers, go to sleep. It’s a big, black feather. Come and sleep in my bed.  There’s a feather on your pillow too.  Let’s leave the feathers where they are and sleep on the floor.”Grief is the Thing with Feathers by Max Porter Many cultures believe feathers are a symbol of a connection to the spirit world. The black feathers that appear on the boys’ pillows signal the arrival of something ominous, in this case grief at the loss of their mother. The Crow, who leaves the feathers, is in fact a character within the story, helping both the boys and their dad through those initial dark days. Feathers are also said to represent strength and growth, and as they learn to manage their grief, the Crow moves on.   Nature plays a strong role in Jane Austen’s Pride and Prejudice, signifying a sense of freedom. “‘Is this a hint to me, Lizzy,’ said her father, ‘to send for the horses?’ ‘No, indeed. I do not wish to avoid the walk. The distance is nothing, when one has a motive; only three miles.’” Pride and Prejudice by Jane Austen The outdoors also plays a role in the relationship between Elizabeth Bennett and Mr Darcy as it is predominantly in these settings that they are able to move their relationship forward. Outdoor settings become a symbol of openness and understanding.   Other examples are the green light in The Great Gatsby by F. Scott Fitzgerald (1925) symbolising the protagonist’s quest for Daisy and the American Dream; the conch in The Lord of the Flies by William Golding is a symbol of power; and the lake in Housekeeping, by Marilynn Robinson, is synonymous with loss and it is not until the main character, Ruth, crosses the lake on a bridge that she is able to start putting the depth of her loss behind her.   Why Use Symbolism? So, why do authors use symbolism in literature?   Whether it be a conscious or unconscious decision, the main impact of using symbolism in literature is to strengthen its meaning and make a bigger impact on the reader. For example, in To Kill a Mockingbird, by Harper Lee, using symbolism adds emotional resonance to the story. The mockingbird, which “don’t do one thing but . . . sing their hearts out for us”, as Miss Maudie explains to Scout, symbolises the innocent characters in the narrative and to kill them, like to kill the bird, would be a sin.    Another way in which symbolism works is providing a visual aid for the reader. In Captain Jesus, by Collette Snowdon, three brothers find a dead magpie in the garden. They hang it on the washing line and when it blows in the gentle breeze.  “‘[i]t’s like we brought it back to life,’ Gabe says.”   The conversation continues with John-Joe saying, “‘we’re not miracle workers, we can’t do a proper resurrection.” The scene, along with the dialogue, alerts the reader to the impending death knowing that no matter how harder they may wish it, they will not be able to bring the deceased back to life.    Using symbolism can help an author portray a complex concept. In the Booker-longlisted novel, An Island, Karen Jennings’ main character, seventy-year-old Samuel, lives in self-imposed exile on a tiny island off the coast of an unknown African country. The only people he sees are those who bring his supplies once a fortnight. One day a stranger washes up on the shore; a symbol of hope, redemption and reparation for Samuel. Looking Out for Symbolism in the Everyday Many readers, I’m sure, don’t pay much attention to the symbols or symbolism in literature. Not consciously, that is (more so if studying a text for school or discussing it in a book club). However, so much is ingrained in our everyday life, in our society and common beliefs, it’s hard not to take them in at all. And there will always be people looking for the hidden meanings between the words on the pages – whether you intended them to be there or not!  As writers, inserting symbols and considering symbolism in our writing is definitely something to pay close attention to. Like Hansel and Gretel dropping breadcrumbs to find their way home, making use of this literary device is providing images and objects, words and concepts, to help deepen our readers’ experience of our writing.   And once those words are printed on the page, carefully chosen words creating a million vibrant images for your readers, unlike in Grimm’s fairytales nothing can come along and gobble them up! Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community. 

Sensory Language Examples In Fiction

Adding sensory language to your writing is a lot easier than you may think, and it makes a huge difference to your work – be it a novel, poetry, or essays. But where do you start?  Think back to a recent personal experience that you remember well. As you bring it to mind, notice the sensory details you recall: the things you see and hear; maybe the physical feelings, for some people even tastes and smells.   Most of us are able to recreate our previous experiences in our mind’s eye and it’s these sensory memories that help us bring the event back to life. In just the same way, when we use sensory words in our fiction it helps our readers experience the world we’ve created by evoking their own senses.  In this guide I will explain what sensory language is, how to use it effectively in your storytelling, and provide some useful sensory language examples to get you started. What is Sensory Language? Sensory language in literature refers to words and descriptions that relate to the five senses. A writer uses these descriptors to help the reader: See what is happening in their mind’s eyeImagine the way speech is delivered and the background soundsUnderstand the physical sensations of texture, touch and movementEvoke tastes and smells In short, sensory language helps our readers experience scenes, events, descriptions or settings in a richer way – to live through the senses. A story with sensory language evokes feelings in our readers and takes them on an emotional journey.  Sensory language is commonly used in creative writing - short fiction, poetry, plays and novels - to invoke mental images and engage readers. However, descriptors of the five senses are also commonly found in a range of texts:  Advertising and marketing copy – ‘Mouth-watering freshly baked cakes’ (rather than just ‘Cakes’)Newspaper/magazine articles and headlines – ‘Shock new probe as PM rips up plans’ (Rather than ‘Investigation as plans change’)Emails and business writing – ‘Hope you’re not rushed off your feet’ (vs ‘Hope you’re not too busy’) ‘How to’ guides and course descriptions – ‘Wrestle those writing demons to the ground’ (vs ‘Be a more confident writer’)Blog posts titles – ‘Play to win and crush the opposition!’ (vs ‘Tips on how to be successful’)  Examples of Sensory Words To help develop a sensory vocabulary think about the different ways in which you experience the senses. Let’s take each sense in turn and look at contrasts to develop a list of sensory adjectives. Here are examples to get you started:  Visual – words relating to how we see things. They relate to things like colour, shape, size, angle, and appearance. How will you use them to paint a vivid picture?Brightness: Light/bright/shiny/sparkly or dark/dim/dull/tarnishedSize: Large/enormous/immense/gigantic or tiny/small/miniature/littleColour density: Vivid/day-glo/fluorescent or pale/washed-out/sepia  Auditory – words relating to sounds and how we hear them. You can use these to make your writing shout loudly or whisper a quiet hint.Volume: Loud/deafening/booming or quiet/whispering/rustlingPitch: Shrill/high-pitched/falsetto/piercing or deep/low-pitched/baritone/bassRhythm: Repetitive/metronome/regular or varying/intermittent/erratic Tactile – Words relating to how we experience touch or the feel of things through our skin. You might choose to soothe with a light touch or poke and cajole to action.Texture: Downy/soft/feathery or abrasive/coarse/roughPressure: Light/gentle/delicate or heavy/harsh/denseTemperature: Burning/scalding/itching or freezing/icy/soothing Gustatory – words relating to taste. You might like writing which is crisp and lean or spiced up with crunchy descriptions.Sweet vs sour: sugary/saccharine/sickly or tart/unsweetenedFlavoursome vs bland: meaty/umami/spicy/herby vs mild/bland/tastelessTexture: lean/crisp/crusty or oily/greasy/buttery Olfactory – words relating to how we experience smells. How about kicking up a stink or perfuming your text with sweet delicate imagery?Scent: Floral/aromatic/fragrant or odourless/neutral/unscentedStrength: Stinky/pungent/over-powering or insipid/weak/airyFreshness: Musty/stale/decayed or paint-fresh/clean/hygienic There are two other types of sensory words we can use:  Kinaesthetic – words relating to how we move and our internal sensations. Maybe you’re edging into this or leaping in with both feet.Still/balanced/steady or fidgeting/precarious/wobblyCrawling/sliding/shuffling or jumping/running/rushingFluttering/buzzing/churning or grounded/centred/soothing or stabbing/aching/sharp/tingling Emotional – words relating to our mood and the way we feel. Hopefully you feel curious and energised to have a go, even if a little uncertain!Confident/brave/assured or ill at ease/dubious/indecisiveDepressed/low/down or happy/upbeat/jolly or edgy/anxious/restlessMellow/chilled/calm or agitated/energised/hyper The choice of sensory words impacts the reader’s perspective. Consider the contrast in the following three examples:  ‘The young woman is both intelligent and kind.’  This is a clear straightforward description but is lacking any colour as it doesn’t engage our senses.  ‘The woman is around twenty; her tongue cutting, her brain sharp, her heart hard.’  Here we have more of a sense of the woman; the choice of words paint her in a negative light.  ‘She\'s an old soul with young eyes, a vintage heart, and a beautiful mind.’Nicole Lyons This quote from author and poet, Nicole Lyons, is a more poetic description. This time we have a positive impression of the woman.  How to Use Sensory Words in Your Writing Let’s take a simple scene and consider how we can enliven it with sensory language examples. Imagine a woman is about to enter a restaurant to meet a friend.   She’s outside the restaurant looking in through a glass panel in the door. What does she see? Tell us what type of establishment is it? What does the restaurant look like? How is it decorated? What fabrics, furnishing, wallpaper, colours? How many tables, diners and staff?  She steps forward into the room. Take us there so we experience what she hears. Is it noisy or quiet? Can she hear snatches of conversations, if so, what is said and how? What background noises can she hear?  She spots her friend across the room. What does she feel? What sensation does she feel inside and where does she feel it? What is her emotional reaction? How does she move as she walks across the room?   The two friends hug. Does she smell anything? Is her friend wearing perfume? What does the room smell of and does she like it or not? Can she smell the food served to other diners?  Seated at the table they eat their food. What does she taste? What are the flavours? What texture does the food have?   If we strip out all the sensory language, we have something akin to stage directions:   ‘A woman is about to enter a restaurant to meet her friend. She’s outside the restaurant looking in through a glass panel in the door. She steps forward into the room. She spots her friend across the room. The two friends hug. Seated at the table they eat their food.’    This would be described as ‘under written’: there is nothing to help us imagine the scene in our mind’s eye, all we have are a series of actions.  However, if we include every minute detail in our sensory language the passage becomes clogged. It becomes too busy and we long for something to happen. This is referred to as ‘overwritten’. The key is to help the reader to use sensory language to notice and experience what the character(s) would see, hear, feel etc.  This will depend on what you are trying to convey in the scene.   If the woman is anxious about the meeting she may focus on different things to if she is excited about seeing her friend again. For example, she may notice what people are wearing and feel underdressed or overdressed, which would heighten her anxiety; you may want to describe how she loathes the type of food on the menu, how the smells make her feel sick, and the churning in her stomach when she can’t see her friend in the crowded room.   However, if she is excited, her focus may only be on her friend. She may ignore the other people and the restaurant setting as she rushes across the room to join them.   Play around with the same scene by using different sensory examples to convey the character’s state of mind in each writing example, then note how it changes the story each time.  Examples of Sensory Writing A great way to learn about sensory imagery is to examine sensory language examples from literature. These first two are from Victorian literature.  ‘I heard the rain still beating continuously on the staircase window, and the wind howling in the grove behind the hall; I grew by degrees cold as a stone, and then my courage sank.’ Jane Eyre by Charlotte Bronte (1847) Bronte’s use of sound (beating continuously, howling), and temperature (cold as a stone) help us to feel the character’s dark emotional mood.   ‘Facing the window, in the chair of dignity, sat a man about forty years of age; of heavy frame, large features and a commanding voice; his general build being rather coarse and compact… When he indulged in an occasional loud laugh at some remark among the guests his mouth parted so far back as to show the rays of the chandelier a full score or more of the two-and-thirty sound white teeth that he obviously still could boast of.’The Mayor of Casterbridge by Thomas Hardy (1902)  Hardy’s description paints a vivid picture of the man and his character. His confidence and presence are clearly conveyed (heavy, large, commanding, loud) so we can both hear and see him in our mind’s eye.  Here are three modern examples of sensory writing which include simile and metaphor:  ‘…a helicopter bladed the sky in the hills outside Hebron. He had never seen a machine quite like it before. The soldiers, when they leapt out, looked to him like green insects, crouching and running up the hillside, fabulous with fear. His mother ran down from their home in the hillside caved, grabbed his sleeve, shooed him home along the rocky path.’ Apeirogon by Colum McCann (2020) McCann conveys the awe of the child as he watches the way the soldiers move up the hillside (like green insects, crouching and running, fabulous with fear). Then his mother’s urgency conveyed by the way she runs down, grabs and shoos him. We are there, feeling the tension of the mother and soldiers and the wonder of the child watching. ‘I lift the corners of the first sheet; dust and the smell of camphor the papers have absorbed over the years swirl up and taunt my nose.’ The Garden of Evening Mists by Tan Twan Eng (2012) Eng uses the word ‘taunt’ in an unusual way to highlight the unpleasantness of the dust and camphor smells.  ‘…in my dreams I see Dharsi’s beautiful face and some other unknown one next to it. A frog, not transforming into a prince but shape-shifting into something frightening. The metallic taste of these dreams tinges my mornings like a flavor stirred into my coffee.’ What Lies Between Us by Nayomi Munaweera Munaweera gives her dreams a ‘metallic taste’ that lasts into the next day, the person lying next to Dharsi is seen as a shape-shifting frog. Her descriptions apply both sensory language and metaphor to rich effect.  Make Sense of Your Writing Look out for examples of good sensory language as you’re reading and consider where the author has focused the reader’s attention and how they’ve enriched their descriptions.    What impact does this have on your engagement with the text? What helps draw you into the passage and when is the sensory description too much ‘clutter’?   Notice the different styles in books you enjoy versus those you set aside. So settle down comfortably, wrap up warm, keep your eyes and ears open as you sniff out those examples and get a taste for what rings your bell, lights your fire, and gets your metaphorical taste buds tingling!  Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community. 

What Is A Fictional Flashback?

Flashbacks can be extremely effective tools when it comes to telling your story.  You may have read advice to avoid them if possible - yet good flashbacks can reveal backstory, and they can surprise and delight readers, while giving authors the freedom to tell story events out of chronological order. So why are some people lukewarm about them?   It’s all about technique. As with so many elements of writing, flashbacks can work brilliantly if used well, but can ruin your story when used incorrectly.   If you’re considering whether your book will benefit from one or many flashbacks, this guide will help you understand their uses and teach you how to use flashbacks effectively in your writing.  Purpose Of A Flashback Authors don’t always want to show the reader the scenes in the order they happened. There can be many reasons we want to play with time:  We don’t want to bombard a reader with detailed information too early – we want the reader to get hooked by the characters or situation first. We are holding back a key plot point for a twist, or the ‘shock factor’. We want to draw comparison between the past and the present – to show irony, or character growth.  There may be character backstory that only becomes relevant partway through the story – if shared too early, the reader won’t understand the relevance.  We generally use flashbacks in literature, not to dwell on what happened in the past, but to provide insight into a character and their decision-making in the present.   For instance, a flashback helps a reader learn it’s because a character was bullied in high school that they are oversensitive to a throwaway comment now. Or that a character is reluctant to believe what her father is saying in the present, because we see from the past he has a history of lying to her.   Flashbacks are a way of illustrating this link between past and present, but the best flashbacks do more than this. They work on multiple levels, enhancing knowledge of plot and character.  Flashback Examples In Fiction Many novels flip between past and present timelines, such as The House at Riverton by Kate Morton or The Vanishing Act of Esme Lennox by Maggie O’Farrell in contemporary literature, or The Good Soldier by Ford Madox Ford and Heart of Darkness by Joseph Conrad in classic fiction.  See how Conrad uses this line of dialogue to trigger a reminiscence in Heart of Darkness:   “We looked on, waiting patiently—there was nothing else to do till the end of the flood; but it was only after a long silence, when he said, in a hesitating voice, “I suppose you fellows remember I did once turn fresh-water sailor for a bit,” that we knew we were fated, before the ebb began to run, to hear about one of Marlow’s inconclusive experiences.”   In My Sister, The Serial Killer by Oyinkan Braithwaite we see flashback being used in a seamless way:   “According to family lore, the first time I laid eyes on Ayoola I thought she was a doll.”   The description that follows, of Ayoola as an innocent baby, adds a layer of irony to Ayoola’s willingness to murder in the present.  How To Write A Flashback In Fiction The key to managing a flashback technically well is to ensure the reader always knows ‘where’ and ‘when’ they are in a story, by giving the reader timing prompts, to clearly differentiate past and present.  There are several ways you can do this, and they can be used alone, or in conjunction with each other:  1. Using Headers There are many novels which tell stories over two timelines, often in alternating chapters headed something like ‘Then’ and ‘Now’, to orientate the reader. These ‘Then’ chapters operate as a series of flashbacks. Novels which flashback to more than one timeline can use different headers like ‘2008’ or ‘Earlier That Day’.  This is the most straightforward way of writing flashbacks – it’s neat and tidy, and the headings make it clear for the reader where they are.  This can be used in conjunction with: 2. Changing Tense Many novels use the technique of changing tenses – with ‘Now’ sections told in the present tense and ‘Then’ sections told in past tense.   In Mhairi McFarlane’s Don’t you Forget About Me, one chapter’s ‘Now’ section ends with:   “It’s also the first time I’d been near a funeral since my dad’s, twelve years ago.”   There is then a line space before:   “When I was fifteen or so, my mum pinned the order of service for her cousin Janet, a physiotherapist in Swansea, to the corkboard in the kitchen.”   In the final line of the previous section “it’s” is in the present tense. There’s a line space, then “pinned” is past tense.   This is a simple technique for stories told in the present tense – but changing tenses can also be used for stories told in the past tense. Early Morning Riser by Katherine Heiny uses ‘had\'s – past present tense – to show the story is moving into flashback:  “Jane’s memory of the night of the accident was patchy. She remembered Luke driving her to the hospital in Petoskey to see her mother in the ER. The sight of her mother sitting on a gurney with her left arm in a sling, her large leonine face looking so slack and old, had caused Jane to burst into tears. Her mother had turned to her and held out her good hand. “Don’t cry, dearheart,’ she said. “I’m okay.””  One tip many writers who write in past tense use for flashbacks is to place a past present tense description – he had jumped, he had eaten – in the first and last lines of a flashback, to indicate the section starting and finishing. They then write the rest of the section in plain past tense, the same as the rest of the novel. This technique is invisible to a general reader – but it works!  3. Framing Techniques Your character could see a photograph or hear specific line of dialogue to prompt reminiscing, and then the reader is taken to a flashback scene. A timely doorbell or someone entering the room can break the spell and trigger your narrator back to the present.   In the example from Mhairi McFarlane’s, Don’t Forget About Me, McFarlane ends this flashback section with “I return to these memories reluctantly. Then I push them away again. It’s like forcing too many things into a cupboard and using the door to keep them jammed in.”   This is a framing technique, showing the character has ended their reminiscence. Why Have I Read Advice Saying Authors Shouldn’t Use Flashbacks? There is a lot of writing advice out there, and you can find people arguing for and against pretty much anything! And flashbacks, in particular, get a bad rap.   As with most elements of writing, there is no absolute right or wrong – just personal preferences, and ways of doing things effectively, or ineffectively.   The main reason some people dissuade new authors from using flashbacks is that a flashback is always backstory. If not earned and relevant, it can slow story pace – so we need to use caution. We want our readers to be desperate to turn the page to find out what happens next – yet we are delaying their gratification by moving out of the present to a completely different scene. No reader likes to be pushed away from the action. This is why it’s so important to ensure your flashback is done well and has earned its place in the text.   Questions To Ask Yourself When Deciding Whether To Use A Flashback Is your flashback relevant and directly related to the main plot? Does the reader need to see this scene? Can the scene be cut without the story losing coherence?  Could you share this information easily another way – in a line of dialogue, for example?  Is this the right place for a flashback? Are your readers invested in your story enough at this point to be willing to take a change of pace? Have you earned the reader’s interest enough to start playing around with chronology? Is your flashback clear to follow? Is your reader able to clearly intuit where they are in the timeline of the story? Do you have too many flashbacks? Are you risking irritating the reader by repeatedly interrupting them, and not giving them enough forward momentum in the present? Is the flashback scene exciting in its own right? Does it contain internal or external conflict, as well as providing backstory?  Does your scene work on multiple levels? Does it advance character and plot and read well?   After All That, Are Flashbacks For You? They may be, and they may not. A lot of it comes down to the story you are trying to tell, and your preferences.   Some authors write for their whole careers without using a single flashback but, for those of us who want to bend story time for narrative purposes, they are a crucial tool. Flashbacks are powerful story elements, and sparingly and effectively used, they can really benefit your writing.   Good luck!  Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community. 

What Is Chekhov’s Gun?

You may have heard of Chekhov, and you may even have heard of his gun, but what does that have to do with storytelling and plotting a novel? In this comprehensive article we will teach you everything you need to know about Chekhov’s Gun (with examples), and explore similar literary principles and devices. What Does Chekhov’s Gun Mean? The principle of Chekhov’s Gun (sometimes called Chekhov’s Law or Chekhov’s Gun Law) is not to introduce anything that won’t eventually be important to the plot. This principle not only helps writers cut down on extraneous and unnecessary details in their stories, but ensures readers will be satisfied by the end. Drawing attention to something that doesn’t have any significance to the story can frustrate the reader and waste precious words in your novel. Essentially, the principle enables writers to generate clear plots by considering the significance of everything they mention in their story, and tackles the over-symbolism in literature. (The exception to the rule is a red herring – but we’ll look at that a little bit later on.) So who was Chekhov and why is everyone so interested in his gun? History of Chekhov’s Gun Chekhov’s Gun is a dramatic principle that, unsurprisingly, comes from Anton Chekhov - a Russian playwright and short story-writer in the late 1800s. While Chekhov leaves behind a great literary and theatrical legacy, he is probably most well-known for this dramatic principle. In a letter to Aleksandr Semenovich, Chekhov once said: One must never place a loaded rifle on the stage if it isn\'t going to go off. It\'s wrong to make promises you don\'t mean to keep. Similarly, he once wrote: Remove everything that has no relevance to the story. If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it\'s not going to be fired, it shouldn\'t be hanging there. Intended as advice for young playwrights, this principle is still widely cited and utilised today. Chekhov used this principle in his play, The Seagull, where there is a literal gun that gets introduced at the start and then fired at the end (hence the name given to the principle). In Act One, Konstantin Treplyev uses a rifle to kill a seagull. In the final act, Konstantin uses that rifle to kill himself. Significance is placed on the rifle in the beginning which draws the audience’s attention to the item, and then the rifle has significant impact at the climax of the play. The audience is satisfied, there are no loose ends, and the principle has done its job. Chekhov’s Gun vs Foreshadowing If you get the concept of Chekhov’s Gun and foreshadowing confused then you aren’t alone. Though they have similarities, they do also have some big differences. Chekhov’s Gun is the dramatic principle whereby the writers won’t make ‘false promises’. That you must only draw attention to something if its significance will be revealed later in the story. Foreshadowing is the literary device where the writer drops hints that the reader will probably overlook until the end, or even until a second read through. This can be something fairly innocuous that hints at a bigger plot development later on. Though Chekhov’s Gun is a form of foreshadowing, the ‘gun’ (item, person, etc) has a direct impact on the plot by the end of the story. While traditional foreshadowing merely hints at the outcome of the plot rather than having a direct influence. Let’s look at an example: In Othello there are examples of both Chekhov’s Gun and foreshadowing. Desdemona’s handkerchief acts as the ‘gun’ here. In Act III Desdemona drops her handkerchief. Iago later finds it and uses it to trick Othello into believing Desdemona has been unfaithful. This is an example of Chekhov’s Gun – Shakespeare draws significant attention to Desdemona’s dropped handkerchief, which then plays a crucial role at a critical moment of the plot. Foreshadowing appears in the play when Desdemona sings a song to her maidservant about a lover who goes mad. This foreshadows the outcome of the play as Othello, Desdemona’s husband, descends into madness and kills her. This moment drops hints for the climax of the plot, but does not have any influence on the plot. How is Chekhov’s Gun Used in Writing? In order to achieve the principle of Chekhov’s Gun there are certain things you need to do as a writer. 1. You must first set up the ‘gun’. The ‘gun’ can be anything potentially impactful in your story, such as an object, a character, an event, or a place. 2. To set up the ‘gun’ you should draw attention to it early in your story, giving it significance and ensuring the reader notices it. You can draw attention to this item multiple times if you wish between the initial introduction and the conclusion of the story, but that’s up to author preference. 3. To round off this principle, the ‘gun’ must then ‘go off’. The item must return by the end of the book and have a significant impact to the conclusion of the story. The item must play a crucial role in order to truly achieve the principle of Chekhov’s Gun. The exceptions to this rule are red herrings and MacGuffins. Red Herring: The exception to the rule of not introducing or emphasising anything that won’t be significant to the plot is the red herring. A red herring is something that distracts from the true plot, and makes the reader guess at the conclusion (it must still be plausible). Red herrings are often used in thrillers, crime stories, and whodunnits, when the author wants to highlight something which makes the reader think it’s significant to the plot, when in actuality it’s there to distract and trick the reader. This literary device is most commonly used in novels where the reader is busy ‘sleuthing’ and purposely looking for clues. It should be noted that a red herring should still have some casual impact on the story, but not significant. The dead ends can’t be haphazardly placed with no tie-in with the overall plot. Red herrings are very common within Agatha Christie novels, particularly And Then There Were None. Ten people are invited to an island under mysterious circumstances, and are killed one by one. There are several convincing red herrings throughout the novel that lead the reader to guess the killer, but each time the new prime suspect is killed. Christie achieves the ultimate plot twist by having the actual murderer \'die\' earlier on in the novel (a death he faked so convincingly that neither the characters nor readers doubt it), so when the reveal occurs it ends up being a twist that no one could have guessed. MacGuffin: MacGuffin is a plot device which many claim is the opposite of Chekhov’s Gun. It’s an object, event, or character that serves to set and keep the plot in motion but actually lacks significance to the outcome. This is usually a goal or object of desire for the protagonist, but whether or not it is achieved has no influence on the plot. An excellent example of a MacGuffin is the briefcase in Pulp Fiction. It seems of vital importance to the characters but the object inside the briefcase is never revealed to the audience so the object is of little actual consequence to the plot. How Chekhov’s Gun can be effective in a series: Used effectively, Chekhov’s Gun creates a cyclical and satisfying conclusion to a story. If you were to follow the Save The Cat plotting beats, for example, Chekhov’s Gun would go off in the last 10% of the book and mirror the first 10% of the novel (either through setting, actions, theme, or dialogue – but with a twist). This way the reader/audience is happy, there are no loose ends, and the plot makes sense. This principle has been used in books and on screen since its inception. Not only can this literary principle be used in standalone novels and movies, but also as part of a series. If an item is mentioned in book one, then by book 3 you expect it to come into play again. The same principles that work within one story, can work across a number of novels in a series. Let’s look at some examples of Chekhov’s Gun in books and on screen. 5 Book Examples of Chekhov’s Gun Great Expectations In Dickens’ Great Expectations, the ‘gun’ is the character Magwitch. He is introduced significantly at the start of the novel due to his interactions with Pip. Enough mystery surrounds him that the reader is interested in his story, but then many years pass and he isn’t mentioned again. When it’s finally revealed that Magwitch has been Pip’s financial supporter this is an unexpected but satisfying twist. The reader has forgotten about this character in the interim but the second he is revealed we instantly remember him again. The use of Chekhov’s Gun here, the initial spotlight on Magwitch and then the big reveal, is both shocking but satisfying to the reader. The perfect plot twist. Ready Player One In Ready Player One, the ‘gun’ is a coin. Specifically, the 1981 Quarter Artefact that protagonist Wade Watts collects from a Pac-Man machine after playing a perfect game. He takes the coin and doesn’t think about it again. There is enough emphasis placed on this moment that the reader remembers it, but not enough that they guess the climax of the book. The coin turns out to be an extra life which enables Watts’ avatar to survive an explosion and continue his quest. This brings about the conclusion of the story and ties up all loose ends in a satisfying way. All the elements of the story were relevant and essential to the plot. The Hunger Games In The Hunger Games, the ‘gun’ is Katniss’ knowledge of poisonous plants. This demonstrates how the ‘gun’ doesn’t have to be an object but can be a character trait. This knowledge is explained and emphasised multiple times throughout the novel, and its significance is revealed at the climax of the novel as she uses poisonous berries to trick the Capitol into releasing both her and Peeta. A Gentleman in Moscow In Amor Towles’ A Gentleman in Moscow, the ‘gun’ is a pair of duelling pistols. Count Rostov discovers a pair of duelling pistols hidden behind a wall in the hotel manager’s office. The significance of this discovery is revealed in the climax of the novel as Rostov uses one of the pistols to intimidate the Bishop into destroying secret files on the employees of the hotel, and locks him up in order to resume his plan to escape. The reader already knows about the pistols, and so it makes sense when Rostov later uses one in order to escape. Harry Potter The Harry Potter series contains multiple examples of Chekhov’s Gun, which Rowling utilises within individual books and across the series as a whole. Examples include the mention of bezoar in Harry’s first potions class which is later used in Book 6 to save Ron when he drinks poisoned mead. Also in Book 1 is the introduction of the Snitch caught in Harry’s first Quidditch match which becomes significant again in the final book as the hiding place for the resurrection stone. These are just two of many Chekhov Gun examples occurring within the series. It’s satisfying to the reader when the solution to a problem involves something that we’ve seen before. 5 Screen Examples of Chekhov’s Gun The Shawshank Redemption There are multiple examples of a ‘gun’ within The Shawshank Redemption, namely a poster, rock hammer, and bible. These objects are highlighted when they’re introduced at the beginning of the movie but seem fairly innocuous at the time. Andy requests a poster of Rita Hayworth, supposedly because he’s lonely, a rock hammer for his boredom as he likes rock carving, and a bible, which wouldn’t raise any eyebrows. These items actually have another use which we find out at the climax of the film. The rock hammer is used to dig a tunnel out of his cell (and he hides the hammer in the bible), with the escape tunnel covered by the poster. The reveal is both shocking and satisfying to the audience. The items are only ever alluded to as for their false use, and none of the other characters even know their real use, so when the twist is revealed it has the required effect on the audience. Breaking Bad In the Breaking Bad episode “Box Cutter” the ‘gun’ is, surprise surprise, a box cutter. At the beginning of the episode we see the box cutter, which is then later used as a weapon by Gus to kill Victor. It’s an ordinary object that you wouldn’t be surprised to see in the setting, so the climax is shocking to the audience. The Lost Boys In The Lost Boys the ‘gun’ is the antlers and fence post in the protagonists’ Grandpa’s house. He has a taxidermy collection so the antlers on the wall are unsurprising, and he’s building a fence in the garden with wooden posts, which are appropriate to both the character and setting and, once again, appear completely innocuous. These items are focused on early in the movie, but disregarded by the audience because they simply appear to serve as character building. Yet these items are key to the climax of the movie. Michael, the protagonist, defeats David, a vampire, by impaling him on the antlers, and the head vampire is killed by one of the fence posts as the Grandpa drives through the building and the post flies off the hood of his Jeep. The solution to their problem was highlighted right at the start of the movie, but no one would have guessed – least of all the audience! Shaun of the Dead In Shaun of the Dead, the ‘gun’ is an actual gun – the Winchester rifle. At the start of the film Shaun and Ed are arguing about whether the Winchester rifle mounted above the bar in the Winchester pub is real. Later on in the film Shaun uses the gun to hit the zombified pub owner and it goes off, proving not only that it is a real gun, but its significance is highlighted as it ends up playing a crucial role in Shaun defending himself. Signs In M Night Shyamalan’s Signs, the ‘gun’ is represented by glasses of water and Morgan’s asthma. Graham’s daughter Bo leaves glasses of water around the house (she believes the water is contaminated after being left so gets a new glass each time she wants a drink.) At the climax of the movie they discover that the invading aliens are vulnerable to water, and the significance of these glasses of water becomes immediately apparent in defeating the attacking aliens. Similarly Morgan’s asthma, alluded to in many ordinary ways throughout the film, has a massive significance in saving his life at the climax of the film. His airways are closed due to an attack, meaning he is unable to inhale the toxic gas from the alien and survives the murder attempt. Both of these things (the glasses of water and the asthma) are innocuous and ordinary so it’s surprising to the audience when they end up having a big impact on the plot. Conclusion Having outlined the importance of Chekhov’s Gun in storytelling, we hope you are now confident to utilise this literary principle in your own writing. Go ahead and create an exciting and satisfying cyclical plot for your readers, and remember to cut out extraneous and unnecessary detail in your story. Remember – if you shine a spotlight on something at the beginning of your story, make sure it helps save the day at the end! Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community. 

How to Write a Believable Tragic Hero

Have you ever seen something terrible unfold right before your eyes? If so, you know that even if you want to, it’s hard to look away. In stories, the embodiment of that irresistible dread is the tragic hero – or what I like to call ‘the literary car crash’. Every story has a protagonist, or hero, and that hero usually faces some kind of conflict. Often they suffer hard lessons, but come out in the end with their conflict resolved; the hero is fulfilled, and the story ends on a happy note. Now, I love a happy ending – and absolutely refute the suggestion it lessens a work’s importance. But what if you want your readers to have a different response to the end of your story? What if you want them to feel pity, fear, or devastation for your protagonist? If that’s your intention, you might consider writing a tragic hero. In this guide, you’ll learn what makes a tragic hero, how those characteristics play out in some well-known examples, and how you can develop your own tragic hero with those examples in mind. What is a Tragic Hero? The tragic hero is a classic literary archetype, one that inspires compelling drama, conflict, and pathos. What makes this character (usually the protagonist) so intriguing is that, while they have admirable traits, one or more of those traits, in the extreme, ultimately causes their downfall. This unhappy irony provides a moral lesson and evokes sympathy from the reader – two reactions that leave a strong impression. What\'s the Difference Between a Tragic Hero and an Anti-Hero? Every novel needs a hero, but what kind will the protagonist of your novel be? Unlike a tragic hero, an anti-hero is someone who (even if they are the main character) lacks heroic qualities. They might do good things, but not necessarily for good reasons – think of Joe in the novel and TV adaptation, You. On the other hand, the tragic hero remains heroic with strong morals and good intentions, with the exception of their fatal flaw that trips them up. Readers want to read about both types of hero, but unlike with the anti-hero, we suffer as we stand by and watch our tragic hero’s demise. So, what are tragic heroes made of? Characteristics of Tragic Heroes According to history books, Aristotle coined the term ‘tragic hero’ (an archetype prominent in ancient Greek plays). He famously said that when a tragic hero meets his fate or demise, “pity is aroused by unmerited misfortune, fear by the misfortune of a man like ourselves.” Using the ancient Greek tragedies as an example, the tragic hero has six main characteristics: Hubris – or arrogance, excessive pride.Hamartia – a fatal flaw; an error in judgement, or self-deception.Peripeteia – the sudden turning point; the error in judgement leading to a reversal of fortune.Anagnorisis – recognition of their tragic mistake.Nemesis – commonly known as ‘the enemy’, here it refers to the struggle with their own pride.Catharsis – pity and/or fear invoked in the reader/audience. Shakespeare’s plays also feature many iconic tragic heroes – Hamlet, Macbeth, Romeo, Othello – with these characteristics. Macbeth, as a tragic hero, is riddled with flaws. The irony being that were he not so greedy or ambitious he would have managed to avoid all the horrors he encountered. Do tragic heroes always die? No. Shakespeare’s characters are unforgettable, and as a result people often think tragic heroes have to be larger than life and that their stories always end in death. But that’s not necessarily the case. Let’s examine some more modern tragic heroes, including a few of my favourites, keeping in mind the list of traits above. Tragic Hero Examples Isabel Archer in The Portrait of a Lady The young heroine of Henry James’ 19th century novel is beautiful, free-spirited, and idealistic. She turns down marriage proposals from two wealthy suitors, which impresses her cousin Ralph. He convinces his dying father to will her a large portion of his inheritance, hoping financial freedom will allow her intellect and independence to thrive. Instead, she falls for an impoverished dilettante, Gilbert Osmond, set up by Madame Merle, who she considers a friend. Despite Ralph’s warning, she marries Gilbert, certain of his love and moral character. Afterward, Gilbert controls her money and manipulates her affection for his daughter Pansy in a scheme to further his social standing. Her recognition of his deception alters her; once vibrant and optimistic, she becomes quiet, cautious, defensive. Thus, Ralph’s gift, intended to secure her liberty, becomes the instrument that traps her (and his misguided generosity, combined with his hubris of presuming her future, makes him a tragic hero too). Isabel walks into the trap because of her inability to see fault in those she loves, and pride in her own judgement. Even when she learns of her husband and friend’s betrayal (Merle is Pansy’s real mother), she chooses her notion of honour above her own happiness, as if in penance for her mistake. We feel sorrow on her behalf, because we can relate to the pain of choosing the wrong partner, and being betrayed by a friend. Stevens in The Remains of the Day Tragic heroes aren’t necessarily grand or likeable. The English butler in Kazuo Ishiguro’s post-WWII novel lives a life of service, dedicated to his employers and to his ideals of loyalty, dignity, and discretion. All fine qualities, but he takes them to the extreme, making him priggish and exasperating. Still, he merits sympathy, because his upbringing was constrained and unloving. As the novel progresses in flashbacks, we learn two things: 1) Stevens’ revered former employer, Lord Darlington, collaborated with the Nazis, tainting his legacy, and 2) Stevens repressed his romantic feelings for Miss Kenton, who worked as a housekeeper at Darlington Hall twenty years ago. In present time, he takes a road trip to visit her, after receiving a letter suggesting she’s unhappy in her marriage. When they finally reunite, the old attraction is still there. But while she admits it, he cannot. Once again, Stevens’ fear of change and intimacy prevents him from acting. The tragedy of his life is that he devoted it to an unworthy man, while turning away the one person who truly cared for and understood him. Worse, he doesn’t know what to do with his pain except to pretend he doesn’t feel it. And this makes him pitiable. We’ve discussed the appealing tragic hero and the infuriating one; now let’s study a character who’s a bit of both: Lila Cerrullo in The Neopolitan Novels One of two main protagonists in Elena Ferrente’s beloved four-part series, Lila is a brilliant visionary – talented, gorgeous, and fearless. She’s also arrogant, jealous, bitter, and vengeful. All of which makes her fascinating. With her beauty, intelligence, and charisma, she’s a natural prodigy. But her early promise is thwarted by the patriarchal confines of 1950s Italy – and her own self-destructive impulses. She makes dangerous enemies, and betrays (more than once) her best friend Lénu, who can never be sure which Lila she’ll encounter: the good or the wicked. Her unpredictability compels and disturbs Lénu, just as it does the reader. Their love/hate relationship fuels their lifelong, intimate rivalry, and propels this story for several generations. Lila isn’t the agent of all her miseries; terrible things happen outside of her control. At times, she acknowledges her flaws. This softens our judgement, and makes her sympathetic. But she turns her rage at the world inward, becoming so harsh, she repels those who would help her. She expects disappointment, a self-fulfilling prophecy that leaves her isolated and unloved. Finally, she chooses to disappear entirely, and it’s as if a scorching flame has been extinguished. In Lila, Ferrante created an unforgettable tragic character – one that bridges the line between hero and villain. More Examples Other tragic heroes from popular, modern-day books, movies, and TV shows include Lisbeth Salandar in The Girl with the Dragon Tattoo, June Osborne in The Handmaid’s Tale, Anakin Skywalker in Star Wars, Michael Corleone in The Godfather, Walter White in Breaking Bad, and Omar in The Wire. They differ from ‘pure’ heroes like Superman, Wonder Woman, Tony Stark in Iron Man, Katniss Everdeen in The Hunger Games, or Bella in Twilight because, while those heroes may suffer tragedies, they don’t have a hand in creating them. And their stories generally have an optimistic ending. How to Develop a Tragic Hero Now that you have an understanding of what defines a tragic hero, let’s review some key steps to help you write this type of character yourself: 1. Your protagonist should have some combination of virtuous, admirable, or advantageous traits. Give them a positive trait - honour, loyalty, kindness, intelligence, strength, talent, attractiveness, etc. Anything that would be deemed positive on the surface. 2. Develop one or more of these admirable traits as a ‘fatal flaw’. Dig beneath the surface. When taken to an extreme, something positive can turn negative, causing your protagonist to make decisions that lead to misfortune. This involves some form of hubris, pride, or misplaced faith on their part. What makes a fatal flaw tragic is that it comes from within, not by some outside force or event. 3. The progression of this fatal flaw should be believable. Meaning, it should be organic to the development of your character. For example, Isabel Archer In A Portrait of a Lady defends Gilbert Osmond against those who think he’s opportunistic because she believes they fault him for being poor. As she also came from modest means, she views this accusation as unfair. And because she personalises it, she can’t judge clearly. Therefore, her loyalty (a positive trait) is skewed by her own hubris, which becomes the cause of her downfall. Despite her intelligence, we believe she could make this kind of mistake, because her decision is caused by something elemental to her nature. 4. Due to this fatal flaw, your character must suffer a reversal of fortune. Often, this occurs at the novel’s peak, provoking the hero’s wrenching conflict. Watching a good situation turn bad, or happiness into despair, invokes our most primal fears. As a result, your reader feels invested and engaged. 5. Your protagonist must realise their tragic mistake. This twists the knife deeper. It’s one thing to fall from fortune’s grace, and another to know you’re the architect of your own misery. This recognition can be either profound or subtle. In The Remains of the Day, the butler Stevens doesn’t consciously acknowledge his error. But his last parting from Miss Kenton niggles at him, and when he reflects aloud about his dim future prospects, his body betrays him and he tears up. He pretends it’s just exhaustion – but the reader knows better, and feels pity. 6. The final outcome must be tragic, evoking sympathy and pathos. Your heroes don’t always have to die – but the consequences of their actions must be grave. Their suffering should outweigh their mistake. Even if your reader feels annoyed by their poor judgement, they should relate to this injustice and be more apt to forgive them. Create Your Own Tragic Hero Tragic heroes, unlike superheroes, are by nature flawed – and therefore someone we can relate to. In their flaws, we see our own. In their stories, we recognise plausible conflicts. And as we project our emotions onto these characters, we experience outcomes that are devastating, digesting their moral lessons without having to suffer in real life. This is the catharsis Aristotle described, and the effect you want from your reader. As you begin to construct your own tragic hero, think of some favourable traits you possess or see in others that, in its extreme form, could be a tragic flaw. Have you had or know of an experience where good intentions drastically backfired? Have you ever been betrayed or blindsided? What are the moral dilemmas you want to explore? The best writing comes from a place of deep personal connection. Find that hot spot within yourself, consider the dramatic possibilities, and then imbue your hero with all the wonderfully complex tragedy they can – or can’t – handle. Make your readers enjoy their sweet suffering as they watch the character they’ve learned to love destroy their own life. Not all great endings are happy ones…but most do shine with a little hope and a hearty lesson. Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community. 

A Writer’s Guide to Inclusive Language

A Writer\'s Guide to Inclusive Language Disappearing into a great book can be a transformative experience - a form of escapism and an expansion of your understanding.   When I’m diving into the world constructed by a creative author, I want to feel as though I belong in that world. Reading inclusive language is one of the ways in which all readers can feel connected to a story.   So how can you ensure you don’t exclude any of your readers and you help them feel seen?   Firstly, ask yourself this simple question…  Why Are You Writing This Particular Story? We all possess an unconscious bias, and no matter how hard we fight it those hidden prejudices can be projected on to our work. Before we begin exploring inclusive language, ask yourself these questions:   Am I writing about what I know? Is the person’s identity, socio-economic status, race, and age relevant to the plot? Is this my story to tell, or would it be better told by someone who has lived this experience?  If the answer to any of the above is ‘no’ and you still want to write this story, we strongly suggest you do your research and work with critique partners/beta readers/sensitivity readers who have lived the life you are writing. This will not only strengthen the realism of your work, but it will grant you more respect when it comes to pitching your novel to agents or editors.  As society changes, we need to remember our readers and their expectations change too. So, let’s look at how to write inclusive stories…   What is Inclusive Language? Inclusive Language Definition: Inclusion is the practice of fostering a sense of belonging, by including many perspectives, imagining a diverse audience, a multiplicity of ideals, values, and experiences. Inclusive language is how authors show that they recognise their readers, whoever they are, and that they are welcome.   Many people who belong to marginalised communities yearn to see and read about well-rounded, authentic, and diverse characters who are empowered. Characters with independent purpose in narratives, and therefore given the ability to make meaningful change.  Inclusive language isn’t just the description of appearance or using appropriate pronouns; it’s also the use of language to portray power, interest, and direction. It directly addresses the violence of racism, sexism, ageism, ableism, transphobia, islamophobia, anti-semitism, homophobia, and heteronormativity. Use of inclusive language also avoids direct discrimination, implicit and unconscious biases, and other forms of prejudice.   By practising inclusive writing, you will become highly aware of the language that has been used to communicate exclusion, bias, and hate. In order to appeal to ever-evolving audiences, it’s vital to be aware of out of date language, words, and descriptions, as well as those that have always been intended to cause offense.   Why Use Inclusive Language?  Inclusive language is important because it means you are thinking about your most vulnerable and marginalised readers. It’s important for us all to identify where our writing style inadvertently includes out-dated, offensive terms and work toward eliminating these – because we can’t expect our readers to sift through our work to find the good stuff.   So many people experience the world through the writing of others, whether it’s in museum text, film, TV, literature; representation matters to everyone. Limited representations and stereotypes of people in our society does not just harm those who are misrepresented or erased, it harms all whose imagination is limited and keeps their worldview small.   What Does Inclusive Language Look Like? Power and agency are vital when considering your diverse characters. They must have autonomous, developed identities (so not just sidekicks or plot devices) who participate actively in the story and world.  As experiences of marginalisation and exclusion differ across identities here are a few ideas and examples to consider for your writing. Parents and Pregnancy For many authors creating character profiles is a useful starting point when developing family dynamics.   When writing inclusively you should be aware of:  Hetronormative family structures. Heterosexual romantic relationship(s) don’t have to be central to the familial history and structure.  Gender norms as affecting roles taken by parental figures (the mother doesn’t have to do all the cooking, the father doesn’t have to be great at DIY). Assumptions of the nuclear family with two parents and one or more child. These erase polyamorous and blended families and is a western ideal that doesn\'t often include grandparents, aunts, uncles, cousins, and multi-generational households as the core familial structure.  Language matters – use toughen up instead of man up, homemaker instead of housewife, husband and wife instead of man and wife.  This doesn’t mean you can’t have a family that is made up of a married female mum, male dad, and 2.4 kids – it simply means that society doesn’t only look that way. It’s important to reflect reality in your work, as long as it doesn’t feel forced, gratuitous, or irrelevant.  A book that explored the idea of family in an inclusive way is Candice Carty-Williams’s 2019 novel Queenie. The titular character’s family is central to her narrative and their history unfolds throughout the story with the family dynamic driving the narrative. Queenie’s family is her grandmother, grandfather, her aunt, cousin and her mother; as well as the family she creates in her ‘corgis’. The relationships feel authentic and complex - their dynamic is a natural part of the texture of the world.   Gender and Sexual Orientation It’s essential to use inclusive language when exploring gender experiences as well as experiences of sexuality across the spectrum of the LGBTQIA+ communities.   This acronym is used to capture a wide spectrum of experiences, not just those of the lesbian, gay, bisexual, and transgender communities. The first three letters (LGB) refer to sexual orientation. The \'T\' refers to transgender, and so to gender identity. The “Q” stands for Questioning or Queer, the “I” for Intersexual and the “A” for Asexual.   Regardless of your own sexual preferences, remember the world is made up of many people with many different outlooks and lifestyles.  This also applies to unconscious bias when it comes to gender roles and what it means to be ‘male’ or ‘female’. Think about non-sexist language such as:   Gender binaries and gender-neutral language (the idea that you have to be either male or female). Framing around gendered appearances (e.g. describing someone as girlie or a tom boy).The effects of patriarchal assumptions that make it seem necessary to use ‘female’ as an adjective with professions that have assumptions of a male standard e.g. doctor or scientist. Toxic masculinity that equates being a man to being tough and unemotional - and femininity to being submissive and sexualized or viewed with the male gaze to satisfy unrealistic fantasies.   Language matters - use gay instead of homo, sexual preference instead of sexuality, trans person instead of transvestite, humankind instead of mankind.  The Vanishing Half by Brit Bennett discusses gender (and race) in an intimate manner. Reese and Jude’s relationship unfolds as a sweet experience of connection and insecurity of two marginalised people. Reese’s identity as a trans man is established early and his pronouns established and used consistently then on, with none of the narrative based on speculating on his gender. In fact it is society’s gender assumptions that become absurd, and painful when viewed from the perspective of a couple that sit outside of this. Social Inclusion Poverty and social exclusion are often overlooked when writing inclusively. The language used to refer to people of low socioeconomic status can strengthen negative stereotypes upheld by society, without exploring the systemic inequalities that create poverty and social exclusion in the first place.   Things to keep in mind:  Consider talking about people’s socio-economic status rather than class.  Describing people as survivors rather than victims addresses the idea of agency and power inherent in inclusive writing.Describing people as poor or areas as ghettos, is offensive and dismissive, assigning value only to financial and material assets.   In fact, if you show (not tell) your reader what your characters\' lives are like you won’t need to refer to the words poor, low class, or slums.  Trevor Noah’s Born a Crime: Stories from a South African Childhood describes the reality of living in a community that had been ghettoised by systematic exclusion and discrimination in Apartheid South Africa. The characters in his narrative are interesting and complex, not limited by stereotypical victim narratives, simply people who have to live in an excluded society. Disability When writing about the experience of disabilities it’s important to acknowledge the vastness of what is understood as a disability. As mentioned previously, if disability is not your lived experience, then work with those who can advise you.    Things to consider:  Assumptions about what a disability looks like can result in invisible illnesses and mental health conditions being treated with scepticism and mistrust.  Framing of disability as something strange encourages tropes of disabled villains. Such as where disfigurement and scarring are used to signal wickedness (the James Bond franchise has been under fire for this recently); or mental health or childhood trauma is used to create a backstory that explains violent characteristics. These are dangerous and hurtful tropes with real-life impact.   The ‘othering’ of disabilities detaches these experiences from our understanding of ‘normal’ experiences in society and supports social exclusion - despite the fact that 15% of the world’s population openly identifies as having a disability.   Language matters - wheelchair bound implies a wheelchair traps its user, whereas wheelchair user articulates that their mobility aid provides freedom and greater access to its user.  With mental health, the words mental, crazy, unhinged, unpredictable etc are biased and harmful (unless purposely used in dialogue to represent a character’s own views). Describe their characteristics without using words that are biased and rooted in ridicule or fear.  Audre Lorde’s The Cancer Journals explores the nuance of dealing will long-term illness and disability, along with Black feminist theory, delivered through poetry and essays.   Race and Ethnicity Race is a social construct, but racism is a reality that affects us all.   Ethnic diversity is often what people refer to when discussing racial differences; ethnicity is a mix of inherited features and shared cultures. It’s distinct from nationality, which is a legal status that assigns a person to the laws of a state or nation, as well as affords them protection by this state.   Many readers will have, at some point, read ‘classic’ narratives with no ethnic diversity, or tokenistic and stereotypical representations (for instance, the language used in the much-loved classic, The Secret Garden, would not be acceptable today).   When considering ethnicity in characters, remember it’s not always vital to describe the skin colour or nationality of your character through physical descriptions (you can allude to heritage via their name or setting, or simply let readers decide what they look like).   If you must describe them, consider:  Our world is ethnically diverse, so your literary worlds should be thoughtfully described without dipping in to fetishized language focusing on features in an overt and uncomfortable way. When describing someone there’s no need to isolate body parts like lips or genitals, or describe skin tones using food.   The Diversity Guide is a great source of reference for inclusive language examples.  Language matters - use uppercase ‘B’ in the word ‘Black’ when referring to race, ethnicity or cultural background, and lower case for the colour ‘black’.   An excellent example of inclusive writing around ethnicity is N. K. Jemisin’s Broken Earth Trilogy. Though set in a fantasy world where racial identities do not correlate to our own, the character’s physical descriptions are detailed and rich enough that readers experience a varied cast of characters that are ethnically diverse, nuanced, and relatable.   Age I will end by exploring writing inclusively about age, which is essential as all our identities are filtered by age. For instance, referencing age can provide a restrictive lens that may ascribe ignorance and beauty to youth, and cynicism and wisdom to the elderly.  Ageism affects people regardless of how old they are. Consider these intersections to help challenge stereotypes:  Ageism with gender assumptions, around pregnancy and desires for pregnancy. Is every woman over thirty desperate for children?Ageism combined with racism brings forth particular stereotypes and harmful assumptions (e.g. Black youths vs Black elders).  Ageism combined with disability can bring to light an array of pre-conceived prejudice. The erasure of LGBTQIA+ elders support an idea that these communities are new in society without longevity and legacy.  Language matters – although the terms old fart, little old lady, bitter old man and old hag are often used in jest, they are still insulting (unless they’re included in a character’s dialogue to reflect their own bias).   For a great example of how to change a reader’s perception of age, Jonas Jonasson’s novel, The 100 Year-Old Man Who Climbed Out the Window and Disappeared, is a refreshing narrative from the perspective of an older protagonist that actively challenges the limited expectations of older characters, instead highlighting how all the experiences of his life created accumulated knowledge and perspectives that furthered his narrative and creative possibilities. Evolution of Language Bear in mind that movements to reclaim language that’s historically been used to offend, by those who these words were used against, is rising.   Exploration around ‘crip culture’ reclaiming the word ‘cripple,’ or movements within the LGBT+ communities to reclaim the term ‘queer,’ are very interesting elements of inclusive practice that explore the complexity of power and positionality.   However, these remain problematic for most writers unless they have lived that experience and have a very good reason to use self-deprecating language.  The reclaimed language, among other debates and advocacies based on marginalised people telling their own stories, can and should be explored further by following the #OwnVoices hashtag (created by author Corinne Duyvis). Other related community discussions and campaigns, such as the We Need Diverse Books campaign, are worth researching.   But please, don’t ask someone else to educate you. If you want to run ideas past someone, hire (that means pay) a sensitivity reader.  Champion Inclusivity If your intention is to create a greater sense of belonging, a richer and more complicated world that feels relevant with open possibilities, then it is always worth expanding your practice and considering the impact of the words you choose and the inclusivity of your text. We don’t always get it right, but it’s important to try.  Because I believe there’s a reflexive relationship between inclusive language and inclusive society. As writers it’s our job to be aware of exclusions in society, to consider the agency in the characters we create, and to help move the world forward through the literary worlds we build.   And remember, if all of this appears to be too difficult or unnecessary – maybe your story isn’t yours to tell. Draw from your own experiences. Bring your readers into your world, and in turn help them feel seen.  Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community.

How To Become A Better Writer

Every year, I vow to write more and write better. Sounds easy peasy, doesn’t it? The truth is, becoming a better writer takes time, work, and commitment – and when you add that to the countless hours we already spend on our current writing projects and day-to-day commitments, putting even more work in can feel daunting. Suddenly, your “simple” goal to improve your craft no longer feels do-able, let alone desirable or attainable. After all, there are only so many hours in a day, and so many of us struggle to protect whatever precious writing time we can find.   No two writers are the same. How we define “better writer” changes as our careers evolve. You may want to know how to write good dialogue, how to get better at creative writing, or simply get more words down on the page.  Yet, I’ve never met a writer who didn’t want to improve their craft. Writers are strivers and dreamers - my favourite people – and that’s why I’m here to share my top tips on how I’ve become a better writer.  Make A List Of Your Writing Goals Artistic paths differ from writer to writer. So, let’s start by making a list of your writing goals, big and small. This list is for your eyes only so feel free to go for the gold and the glory.  Don’t hold back. You want to win the Nobel Prize, the Man Booker Prize, the Pulitzer, and the Neustadt International Prize for Literature? Sure, why not, don’t we all in our heart of hearts?    Propose Action Steps To Support Your Writing Goals Okay, now that you’ve compiled a list, let’s go over each goal one by one. What actions can you take to support your goal of becoming a better writer? Think of it as your personal GPS. Map out the route to get there. Step by step. For example, if your goal is more production and more publications, but you fear rejection (who doesn’t?) then being a better writer might involve putting yourself out there and submitting your work to more opportunities. How to improve your writing could also mean increasing your productivity and output – writing more pages – which we all know has been difficult during this pandemic.   Perhaps you’ve always been shy about self-promotion and how to be a good writer for you means improving your sales and reaching a wider audience. What are some steps you could take to increase sales? Network?    If ‘writing in another genre’ made it on your list, now might be the perfect time to take that risk and invest in yourself. Pursue that new interest that keeps you awake at night and take that course you’ve always had your eye on. Check out the creative writing classes Jericho Writers offers here. Becoming a better writer takes courage, faith, and action. When in doubt, remember, it and you are worth it. Carve Out Sacred Writing Time A writer writes. Ideally, as often as possible. I know life is messy yet the only way to become a better writer is to carve out some time to write. Establish a routine. It can be thirty minutes a day. One hour a day. Five hours a week. Your routine might vary week to week. I know mine does. This is why I plan ahead.   Look at your schedule next week, find the pockets of time and book appointments with your muse. Act like it’s a hot date. Show up.   Hold this time sacred. That is, put your cell phone in another room and don’t check your email or your social media feeds. In fact, just turn off the Wi-Fi and write.  At the end of the week, if you honoured all your “dates” with your muse, please treat yourself. A little chocolate. A leisurely walk in the park. Even that new notebook you had your eye on. This serves to remind you a writer’s life is rewarding.   Be A Voracious Reader It may be a cliché but it’s true, if you don’t read a lot, you won’t improve your writing. Read as much as possible. Read the classics, the award winners, the up-and-comers, the off-beat, self-published, and commercial. Read magazines and newspapers. There’s a wealth of information out there waiting for you to discover and grab hold of it.   One time I read an article about the difficulties of finding organ donors, and for some reason, a lightbulb flicked on and kept flickering until I wrote a play that explores that topic. This has happened more than once, and it always feels like magic.  That book you couldn’t put down, that you had to read from start to finish – what was it about that story that grabbed you? What made it a page-turner? Was it the point of view, the story structure, the gorgeous language, the plot?   Take note of the books you couldn’t finish too. Why did you lose interest? Perhaps you were too stressed, too tired, and should give it another read later?  If that’s not the case, what would you have done differently?   We can learn so much from other writers and stories that are not our own, and it can all lead to becoming better writers.  Document Your Ideas Writers are curious observers so be sure to carry a handy notebook wherever you go so you can jot down ideas. It may be:   Swatches of dialogue or a bizarre turn of phrase you overhear that spark intrigue.  What someone was wearing…or not wearing.   A street sign or joke that made you laugh out loud.  A scenario that made your blood curl.  Unusual or annoying mannerisms that might inform one of your characters.  That musical phrase you keep humming.  Secrets spilt at that family gathering.  Keep a writing pad near your bedside.  Sometimes a weird dream will jolt me awake and I need to write down the details before I forget.  Of course, you can use your smartphone to make notes, record audio notes, and take photos as well.   Capture the vivid colours that surrounded you. Record the sound of the beach. Make a note of how the Hunter’s Moon glowed that night.  Take a photo of that statue or landmark that inspires you to do further research.  Life is full of wonder and delight. It’s our job to live it and write it.  Find A Writing Buddy Writing is a solitary profession, but we don’t have to go it alone. Having a writing friend can be tremendously uplifting in these unsteady times. I have a few writing buddies and we check in with each other regularly. We share resources, what we’re working on, our ups and downs, what we’ve done to advance our careers, and what we hope to do in the next week or two. We hold each other accountable in an honest, supportive, and kind relationship.  Choose wisely. Your writing buddy should be someone who has your best interests at heart, and vice versa. We rarely succeed at the same time or the same rate, so it’s essential to pair up with someone you respect and trust.    Write To Win, Place, Or Show Writing contests provide excellent opportunities to improve your craft, create new work, and have fun. These contests often offer prompts or themes that ignite and stretch our imagination. The fact that these opportunities come with deadlines is a bonus – added encouragement to stick to our writing routines.   I usually choose contests where there are no or low submission fees, but that is a personal choice. Everyone should do their own cost/benefit analyses and compare those results to their goals and finances. Sometimes the benefits outweigh the costs. While rewards vary from opportunity to opportunity – publication, reading, production or a cash prize – the overall goal remains the same: to challenge ourselves and become better writers.   ‘No’ Is Simply A Number I love American baseball because it showed me a new, healthier way to accept that dreaded word - “failure.”  Professional baseball players strike out a lot. In fact, they strike out 70% more often than they hit. If they hit three out of ten balls, they end up in the Hall of Fame. That’s right, three out of ten and you’re in the Hall of Fame.  Like baseball, the arts is also a business of frustration and failure. You will receive more “no’s” than “yesses.” It is very much a numbers game. The more we submit, the more we step up to the plate, the more likely we will get hits. If we’re lucky, we knock it out of the park and end up on some bestseller lists. The trick is to keep showing up at the plate.   Rejection still hurts and Imposter Syndrome is very real, but one way to soften the blow is to think of each “no” as a pass. Yes, a pass, because many times that’s what it is. A question of fit or taste. Not a reflection on the quality of your work. Maybe the literary magazine just published a story with a similar theme, or an agent is looking for something specific. When a pass shows up in your email box, make it a policy to send out another request or pitch.  Beating up on yourself never helps, never leads to your best work. I know, I am my own Tiger Mom. Alligators are known for their tough skin; good writers are known for their resilience.   Whenever I feel myself falling down that rabbit hole, I pull myself back up with Norman Lear’s motto: “Over and Next.”  Norman Lear is an American television and film writer who has created, written, and produced over 100 shows.  Listen To Feedback Now, if we get repetitive feedback that pinpoints a specific area that needs work, then consider that a blessing. That’s information we can process and use to improve our next draft. Perhaps there’s an unclear plot jump and the timeline is confusing to readers. Maybe the dialogue feels stilted and strains credibility because we inadvertently head hopped. Put these notes on your list of goals. Brainstorm the action steps you can tackle your revision. Find resources. Reach out. Outline. Rewrite. You got this. Keep writing, rewriting, and sending work out. Three hits out of ten. That’s what we should all be aiming for.  Keep Growing  Remember your voice and your vision are gifts to the world. Cherish and nurture those gifts. Court your muse. When you’re feeling blue, keep your eye on the prize. Talent is unstoppable. Three out of ten. Over and next!    I’m so happy you want to become a better writer. Me, too. I hope my tips inspire you to be the best writer you can be, and show you there are so many ways we can keep on becoming better.  So many resources are available, too, at your fingertips, starting right here.  We don’t have to do it alone. We form a community and do this together. We can even have fun along our journey.  The writer’s life is rewarding when we stay curious, stay resilient, and we keep getting better. Our writing goals change as we become better writers and our careers evolve, but one thing never changes: You know best better. See you at the Writer’s Hall of Fame! Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community. 

Driving The Story: Internal Vs. External Conflict

You can’t have a story without conflict. But what types of conflict should your characters be dealing with? Will it be the bad guys that get between them and their end goal – or will they be the ones standing in their own way?  This internal vs. external conflict debate may sound unnecessary, and some writers simply choose to ignore it, however injecting various types of conflict in your story can be incredibly useful and makes for a deeper (and more tension-filled) story.   There’s a general misconception that a literary fiction novel can’t have external conflict and a fast-paced thriller can’t have internal conflict – that commercial work is all about action, and ‘deeper’ books are more character-driven. That is simply not true.   Before we delve into this discussion, let’s establish what constitutes internal and external conflict - or indeed, conflict itself.  What Is Conflict? Conflict is the stuff of drama. It’s the main reason people read books. Nobody is interested in a protagonist that’s like a cork bobbing aimlessly in the water. No. Readers want to root for a protagonist that has some sort of aim in life, stakes that are high and difficult to achieve. To be more specific, a book character needs motivation and the drive to achieve something. The obstacles that arise to prevent that from happening are conflict and they only make us root for the protagonist harder.   There’s a reason why plot-driven series like The Hunger Games and Divergent are so popular. They provide us with solid main characters who are thrust into an inhospitable environment and are asked to survive through them. With plenty of obstacles thrown in their way (be it people trying to kill them, or trauma from their past preventing them from moving on), it makes for popcorn-worthy entertainment. For the same reason, film franchises like Jurassic World, Star Wars and The Lord of the Rings have enduring appeal.   Conflict is what makes a story world compelling and a book ‘unputdownable’. If a conflict is weak then so is the story. The more complex and hard to resolve the issue is, the better the story. The best conflicts are an amalgamation of internal and external conflicts.  So what’s the difference between internal and external conflict?   Internal Conflict In simple terms, internal conflict pertains to a character’s fight with the self. This internal struggle tells us a great deal about the kind of person they are. In the film The Woman in the Window, the main character, Anna Fox, suffers from agoraphobia which makes it near impossible for her to venture out of her house. That is internal conflict. It’s this which drives the story forward. Everything that happens in the film basically revolves around Anna’s agoraphobia.  It’s incorrect to say internal conflict only exists in literary fiction. Sure, it can help in exploring the various nuances of a character, but it can also be vital in pushing the story forward. The Woman in the Window is a psychological thriller that thrives on the main character’s internal conflict. Similarly, in Anna Karenina, we have an example of internal conflict in yet another character called Anna. Unhappy in her marriage, she falls in love with a man she can’t have. Her internal struggle is part of the novel’s enduring appeal. External Conflict External conflicts arise when things happen that are out of the character’s control and how they affect their life and prevent them from achieving whatever they want.  External conflict is plot-driven and thus is used to great effect in thrillers and action novels. However, that isn’t to say that external conflict has no use in character-driven novels. In Anna Karenina, her society is one of the reasons Anna can’t be with the man she loves. This is a great external conflict example that appears to be a lot more internal. In the Jurassic World franchise, the conflict doesn’t only arise between the main characters, but mostly due to rampaging dinosaurs being an integral part of the plot. The franchise shows us how, despite every precaution being taken, life itself is difficult to control.  Turning to YA literature, The Hunger Games offers an excellent example of external conflict. Survival is in jeopardy when Katniss Everdeen takes her sister’s place for the games that are held on the order of the Capital. Whatever action she takes against the external forces she’s forced to deal with determine her survival. The Difference Between Internal And External Conflict Internal vs external conflicts can be more nuanced than this, but here’s a handy reference to distinguish between the two…  Internal: Psychological, emotional, and the past: fears, mental health, trauma, social conditioning and self-doubt.  External: People/animals/monsters who are out to get your character, an inhospitable landscape, and events out of their control.  Adding Conflict To Your Writing There’s no better way to move a story forward than to create conflict between characters, their environment, or their internal angst. Without anything to overcome there’s no hero.  Conflict can take many forms, but it can mostly be categorised into two camps: internal and external. A novel that possesses both forms of literary conflict affords readers a well-rounded view of not only the characters but also of the story world and overall theme.   There are plenty of examples of novels that have both. Some that come to mind are: The House at Riverton by Kate Morton, Fates and Furies by Lauren Groff, The Alias Grace by Margaret Atwood and The Corset by Laura Purcell.   Remember, conflict isn’t only about fistfights and weapons causing widespread destruction. Conflict can be as simple as a person applying for a job and the insecurity they might feel from the other participants.   Let’s take a look at how we can add conflict to our work in more subtle ways.  Dialogue Arguments between characters, not to mention those powerful one-liners, are what drive conflict. Dialogue is often considered one of the best devices for introducing immediate conflict. By applying the old adage ‘Show Don’t Tell’, instead of telling us a character is mean, it’s better to show them being unkind through mannerisms, action and dialogue.   This leads us on to…  Creating Characters With Opposing Views Novels are generally categorised as follows:  Action-based (external conflict) Reflective (internal conflict)  The action-based novel is driven by events happening in the plot and how the characters respond to them in order to move forward and fulfil whatever purpose they may have. The reflective novel, on the other hand, takes a more languid pace with plenty of characterization. Both of these can be enhanced by introducing characters with opposing views.  Pride and Prejudice, for instance, is an excellent example of a reflective novel where Elizabeth Bennett is torn about her feelings for Mr Darcy throughout the novel. She seems to love and hate him, but ultimately love trumps all. The same goes for North and South by Elizabeth Gaskell where the main characters engage in a dance of love and hate. That is an example of internal conflict and opposing characters.   Subplots In addition to dialogue and characterisation, subplots are also a great way of adding conflict. Subplots allow minor characters to have storylines of their own, and since a subplot always complements the main plot and never competes with it, we get to understand a bit more about the main characters. Think of ways a subplot and the main plot meet, and how they can create conflict for one another.  Flashbacks Flashbacks are also a useful device and are useful in establishing the character as three-dimensional, illustrating why the character is struggling with internal conflict. For instance, if a character has faced trauma in the past, the flashback may explain their behaviour in certain situations in the present.   Conclusion As we’ve demonstrated, conflict in storytelling is a complex subject, but not something that should overwhelm us. On the contrary, conflict is our friend as it can help us write fast-paced scenes and it may be the answer to our plot holes or writing slumps.   Writing conflict doesn’t have to be hard. In fact, whenever the pace of the novel is lagging, conflict is the one thing that will come to your rescue and elevate your novel back to the pace it had in the first place.    So have fun building your worlds and creating characters your readers will root for – then put them through hell! Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community. 

A Guide on Writing Memoirs or Autofiction

A Guide on Writing Memoirs or Autofiction Many people have lives that would make incredible stories, yet it can be difficult to figure out how to unpick that life and set it on the page. How do you write a memoir? And is memoir the only option?   In this article I will be walking you through different ways to write your life story and offering tips to help you get started and narrow your focus.  What is a Memoir? A memoir is a first-person account of someone’s nonfictional life story that uses the techniques and crafts of fiction to make it a page-turning read. The word comes from the French word for “memory” or “reminiscence.”   The promise to the reader is that whatever is inside is as true as the author can make it. Of course, writing your exact memories is challenging as very few of us have photographic memories. Readers will forgive small fictions, like writing out a conversation verbatim when you only remember the jist of what was said, but not larger ones.   There are plenty of examples of authors who made up memoirs. The best known one in recent years was James Frey in A Million Little Pieces. Readers felt betrayed and angry because the author had broken the pact and the promise. However, if you still want to use a kernel of the truth but not be beholden to it, read on to learn more about autofiction and other options. Do Memoirs Sell? Memoirs are incredibly popular, especially in the age of COVID. Some recent examples are the Obamas’ memoirs: A Promised Land was 2020’s bestselling book (2.4 million copies in one year alone) and Becoming was also an extraordinary bestseller (came out in 2018 and has sold 3.4 million as of the end of 2020). Trevor Noah’s Born a Crime (2016) provides an interesting and heart-breaking account of race in South Africa as he recounts his life with his signature humour.   I don’t know about you, but I am unlikely to ever become President of the United States and have people desperate to know my story. Luckily, people are also hungry for stories from people who haven’t brushed fame or become public figures. This is evidenced by memoirs such as Educated (2018) by Tara Westover. Her memoir’s about growing up as a fundamentalist Mormon and her quest for education—her first day of school was university at Brigham Young when she was a teenager. Maid (2019) by Stephanie Land is about an impoverished white woman cleaning the houses of the ultra-rich. The Glass Castle (2005) by Jeannette Walls, is about her eccentric, nomadic upbringing and her troubled father’s dream of a better life. Roxane Gay’s Hunger (2017) focuses on her relationship with food and her body, as informed by trauma. Many of these have also been adapted into TV shows or films, showcasing memoirs have massive crossover appeal.  Memoir vs Autobiography (and other options) Memoir is part of a spectrum from narrative nonfiction to fiction inspired by fact. You might realise, once you start working on your story, that there are gaps in knowledge that have been lost to time. Or perhaps you’d like to weave several generations together, which of course moves it away from your own lived, first-person experience.   Many people ask, ‘are memoirs nonfiction?’ The answer is yes…and no. Let’s take a look at how flexible written memories, and this genre, can be.  Memoir As we said, memoir aims to be true with small liberties. It rarely starts with your birth and tells the story in a straight As we said, memoir aims to be true with small liberties. It rarely starts with your birth and you telling the story in a straight line, ending with however old you are when you finish writing it. For example, Mary Karr has written three memoirs: The Liar’s Club (1995), which focuses mostly on her childhood, Cherry (2000), which focused more on her late adolescence and blooming sexuality, and Lit (2009), which focuses on her journey of faith and her divorce. Trying to focus on all three of those in one book would have been too much and they wouldn’t have had the space to be as hard-hitting. There is also nearly 15 years’ difference from the first memoir she wrote and the last—the memoir is a snapshot of the writer as much as the contents of the book, as the tone is affected by the author’s age and experience.  Autobiography  Autobiography, by contrast, does tend to be more linear. The author here functions more as a historian. It tends to be less intimate, more expansive. There’s less room to zoom in on certain moments and it can feel more of a summary of a life. This is useful if you want to know what, say, Benjamin Franklin, Malcom X, Nelson Mandela, or Agatha Christie thought about their own lives, but autobiographies are less common for people who aren’t public figures.  Autofiction If you realise that there’s no way to tell the story in a compelling way while remaining fully married to truth, or the truth is unknowable, you may consider autofiction.   There has been a lot of discussion of the ethics of writing fiction based on truth, particularly if the subject has not been made aware (just fall down the rabbit hole of “Cat People” or “Kidneygate / The Bad Art Friend” to see discussions on this). Autofiction still focuses on yourself but gives the story the opportunity to come alive in a different way. You can even write it in third person, if you wish. You can change timelines more dramatically or add characters or subplots who are amalgamations or completely fictive. Because you haven’t promised it’s a straight memoir, readers are fine with this.   On Earth We’re Briefly Gorgeous (2019) by Ocean Vuong is a great example of autofiction — the main character, Little Dog, is a Vietnamese refugee living in America, writing a letter to his illiterate mother he knows she will never read. Vuong is also a gay Vietnamese refugee, and his mother does not read English or Vietnamese. The story delves into his grandmother and mother’s stories in third person, as well as his own, yet crucially it’s sold as fiction and he doesn’t give us a detailed post-mortem of what is or isn’t true.   Other well-known autofiction authors include James Baldwin, Ben Lerner, Rachel Cusk, Tao Lin, Karl Ove Knausgaard, and more. This is sometimes also called the autobiographical novel, with ‘novel’ signalling that it’s leaning heavily into the fictional side. Autobiografiction And to make things slightly more confusing, there’s also the term autobiografiction, which combines autobiography, fiction, and essay. Stephen Reynolds coined the term in 1906 and describes it as a “record of real spiritual experiences strung on a credible but more or less fictitious autobiographical narrative.” It’s often published anonymously or under a pseudonym, and many queer people used this form to express themselves in times of oppression. It’s not as common a term and tends to be lumped with autofiction: indeed, you could make an argument that Vuong’s book falls more into this category in some respects as there are essays within it.   So, now - the nitty gritty. How do you get started on your project based on truth?  Tips for Writing a Memoir (or Autofiction) Start Researching Now – and Beware the Skeletons Even if you don’t think you’ll start writing your memoir for a while, start gathering information as soon as you can. Depending on the project: sign up for a trial of ancestry.com, interview your family members, start journaling about your memories, look up articles in newspapers.com, flip through photo albums or belongings, request court or other official documents.   It’s so easy for these things to become lost, or for us to tragically lose those close to us, taking their memories with them. You might also have to prepare yourself for more secrets potentially coming to light. You might need to have a discussion with how family members might feel about sharing the truth. Yvette Gentile and Rasha Pecoraro discovered this when they started properly digging into everything for their podcast Root of Evil: The True Story of the Hodel Family and the Black Dahlia (2019). The TV adaption I Am the Night (2019), starring Chris Pine, added an entirely fictive noir subplot to make it more dramatic on the screen.  What’s Your Promise to the Reader? How fictional do you plan to be? You don’t necessarily need to know immediately but notice if you start to shift further away from the facts.   This happened with my current project: it focuses on three generations, so I knew it would always have an element of fiction since my grandmother died before I was born, so I can’t exactly ask her how she felt about any of the facts we know. My mother also wrote her sections and I edited over them, and we made-up certain details or massaged timelines so the scene was more evocative. Each draft has had it depart more from the truth and become its own entity. I felt conflicted about this before I realised that my goal is to use the truth as a jumping off point. I don’t actually owe the reader the truth; I owe them a good story. For me, it was more freeing, and I also knew I’d feel less exposed if the project is ever published.   This brings me to:  Check in With Your Mental Health I barrelled right into my project, thinking I was ready. From a craft standpoint, I was – but not from a mental standpoint.   If you are still processing your trauma, you might consider some therapy first, so you are better protected if you have to delve into some painful memories. Remember: it’s all right to take a break and come back, and it also might still be challenging once you return.   As Mary Karr says in her 2015 how-to The Art of Memoir (highly recommended!): “I’ve said it’s hard. Here’s how hard: everybody I know who wades deep enough into memory’s waters drowns a little.” Focus on Experiences and Emotions Whether memoir or autofiction, your reader wants to experience what it was like to be you or this version of you. You might find you’re tempted to relay the information quite factually, but it may read cold. This is fine for the first draft as you focus on story, but when you edit, focus on making it come alive.   Don’t Attempt to Cover Your Whole Life As mentioned, there won’t be room. Think of those touchstones, the main themes you wish to draw out and examine. Again, it might take you a while to hone in on this. That’s all right, as long as you’re willing to set aside writing that doesn’t serve your overall purpose. Save it for another book, potentially! Engage the Reader from the Beginning One thing I found in my previous draft was the opening was too slow and needed a clearer hook. Read the openings of some memoirs and notice how they draw the reader in. And of course…  Read a Lot of Memoirs and Autofiction & Examine Form I’ve recommended a large selection of creative memoir novels I’ve enjoyed in this article, but there are so many more incredible ones out there. The bestseller charts on Amazon are a good place to start (though do consider ordering from an independent bookstore!). Some are even written in innovative and experimental styles, such as In the Dream House (2019) by Carmen Maria Machado. Reading a lot of memoirs or autofiction might give you some ideas on how you can lay out your story.  Think About Tone For some projects, humour might work very well (Trevor Noah, Mary Karr, Caitlin Moran). For others, it might be horribly jarring, and you should consider a more sombre tone. Experiment with this until you find the right voice and approach.  Remember Your Reader You, of course, have no idea who is reading your work once it’s out there. But memoirs have a common theme: they all seem to focus on making sense of the past to inform our present. With a lot focus on healing and letting go, these can be cathartic for both the writer and the reader. That’s the magic of memoir: your book may save your readers without them knowing they had a void that needed filling.   I hope this article has helped you consider how you might start thinking about writing your memoir, or whether taking a more autofictional approach works better. Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community. 

Complete Guide to Writing Sex in Fiction

A lot of authors have their doubts about writing sex. How much do you include? What should you leave out? How do you structure a sex scene? How do you move past the awkwardness of it all? Most writers find sex scenes harder to write than dialogue and action. Yet sultry scenes don’t have to be a literary challenge. In this guide, you will learn how to approach your sex scenes, how to have fun writing them, how to use them as vessels for characterisation and plot development, and lastly, how to decide whether you need the sex scenes in the first place. The Challenge of Writing Sex Scenes Writing sex can be challenging, and many authors fear how their scenes will be received by readers. Readers can be highly critical when it comes to a bad sex scene. In fact, there’s even an award by the Literary Review for bad sex in literature. Take a look at these eye-opening excerpts from last year’s contenders. Writing about sex makes us vulnerable – no one would deny that. Writers worry their family might read it, that readers may cringe or gasp or yawn at their scenes and judge them. It’s a lot more intimate to be judged on your sex scene than on your action, settings or dialogue, and many authors dread receiving feedback on how they write sex. Other authors want to include a sex scene but are worried about the mechanics of putting the scene on paper. How should the characters act? What should you describe? What should you not describe? How much is too much? These worries, albeit valid, should not stop you from including sex scenes in your work. A sex scene is still just a scene, and chances are if you’re applying the same craftsmanship to these scenes that you apply to the rest of your work, then your readers are no more or less likely to judge it harshly or like it any less. And yes, your aunt Margaret might get a hold of your spicy scene, but that’s just something you’re going to have to live with (unless you consider using a pen name. Check out our complete guide to pen names and our pros and cons of pen names). If you feel that sex scenes will add depth to your work (no one appreciates a gratuitous sex scene that’s irrelevant to the plot), or if sex is integral to your genre (such as romance novels), then there are ways to make writing a sex scene easier and even fun. Tips for Writing Effective Sex Scenes Depending on your genre, readers will either be surprised by your sex scenes, or already expecting them. Expectations such as these can add more pressure to the writer, but here are some things you can do to make sure your scene delivers. Read Many Sex Scenes To write decent sex scenes then it’s important to read sex scenes written by other authors. When you sit down to write your hot scene, it’s likely you will quickly run out of creative ways to say “thrust,” or “straddled” or “throbbing member” (perhaps don’t say ‘throbbing member’). Seeing how other authors are able to keep descriptions interesting and avoid repetition or laugh-out-loud clichés (like comparing genitals to fruit), will inspire you in your own work and help you with your scene. Reading sex scenes from highly acclaimed and popular romance novels means you will be reading carefully edited scenes where the rhythm, metaphors and terminology have all been edited to the highest standard, meaning you can study and incorporate this flow into your own first attempts. Also, try to read diversely - from a sex scene in a thriller or a romance novel, to hardcore erotica. A lot can be learned across genres and understanding the varying degrees of intensity you may require for your own work. Ensure it’s Necessary If you are questioning whether to write a sex scene, ask yourself how integral it is to the plot. Does it move the action forward? Does it deepen the stakes and the characterisation? Will the story be as enjoyable without it? Will it carry as much meaning? Is a sex scene expected in your genre? If you can fade to black or allude to them having slept together in another way, and that feels more natural for your book – then try that. Just because your characters have sex doesn’t mean your readers need to be in the room too. Sex scenes that are forced or gratuitous are like any other unnecessary scene – a waste of time, energy, and words. Hot Tip: Examine Your Chosen Genre Sex scenes can be very important for a novel’s plot, and in some genres they are downright integral. Sexier genres include Erotica, Romance, Paranormal Romance, and a branch of steamy adult Fantasy (think bestselling authors like Sarah J. Maas, who are currently taking bookstores by storm). Sex scenes are important because they characterise relationships and move the plot along, but they can also be important because the reader expects and wants them. The idea that sex sells is not lost in the literary business and it’s no surprise the 50 Shades of Grey books took the top three spots for the bestselling books from 2010-2020! If you are writing in these genres, consider including a well-placed sex scene. If you are writing outside of genres that expect sex, only include it if it feels genuine to you, integral to the story, or necessary for character or relationship development. Sex scenes can also be used to add colour to the setting (such as a drunken orgy to illustrate the gluttony and wealth of a Roman family in your book) but whatever you do, do not include it gratuitously. The advice would be the same for any type of scene.  Don’t be Modest Look, no one wants porn shot by a nun. Writing a sex scene is like art directing a tasteful nude shoot - shame, modesty, indignation, and personal bias all need to be left at the door along with the robe if the scene is to come across as genuine. Your discomfort will affect how you write and how a scene will read, so it’s the first thing you need to tackle. Think of it this way, you wouldn’t let the fact you feel uncomfortable stabbing people with swords keep you from writing an epic medieval fight scene. If you leave out too much detail or keep it too vague, you will only be cheating the reader. Include Enough Detail Great sex writing leaves a lot to the reader’s imagination, yet it must also convey a balanced amount of detail. Of course, how much you include also depends on genre (as you can imagine, Erotica leaves absolutely nothing to the imagination, laying out each tryst in all its sordid glory). Researching and reading widely across your genre will also help you decide how much detail to include. As an artist you are of course free to break these conventions, but make sure it’s with good reason and with your target audience in mind. If you feel your historical fiction needs a 5,000-word sex scene, which is uncommon in that genre, make sure you know why it will add depth to your story. Don’t indulge in too much detail (yes, I know it can be fun), but likewise don’t skim over details either. And remember – most people know how sex works. You don’t have to include every literal in and out. Good sex writing isn’t about the mechanics but about the emotion, flow, and imagery. Write from the Characters’ Perspectives Just like sex between two people in the real world, no sex between two characters should or would ever be the same. Sex is a direct extension of the character’s personality. You have to be true to their perspective when writing it, and true to your story so far. The last thing you want to do is insert a generic “who put what where” scene. Put yourself in both the minds and positions of the characters in the scene. If your novel is dual POV, try describing the sex from both perspectives and treat it as a way of extending the reader’s understanding of the character - including mannerisms and deep characterisation. Why would the character like this and that? What would they say? Which actions would make them feel embarrassment, or joy, or excitement? What rhythm would feel natural to them and why? How a character has sex is no different to imagining what they would order in a restaurant, or how they dress. Even if your book isn’t split POV, doing a writing exercise where you write out the scene from the perspective of both participants could be beneficial. Build Tension Building tension is important in any scene, and even more so in a sex scene. You can’t have a two hundred page lead-up to a steamy scene and then have the sex be over in one page. Similarly, if your romantic interests just met and they are already going at it, your readers are not likely to be invested emotionally. So, build tension leading up to the act, but also don’t forget to build tension throughout the scene itself. No one wants the literary equivalent of a ‘wham bam thank you ma\'am.’ Don’t Overlook Emotion Sex scenes shouldn’t be all about the mechanics - they should include the emotional responses and experiences of the characters involved. This is the perfect moment to incorporate characterisation into the scene. What is the character feeling? How are they responding? What do their actions and rhythm say about what they are feeling? Sex should reveal as much about a character as a good piece of dialogue, or showing them in a high-stakes situation, would do. Make it Real (or Don’t)   In order for sex scenes to be believable they need to be realistic and not idealised. That’s not to say you can’t have an alien having sex with a vampire. Just that if they both keep overpraising each other, and the emotions are flat, and everyone climaxes after two minutes, your reader will feel like they’ve been pulled out of the story and doused with a bucket of cold water. Try to stay true to the characters, their individual personalities, the world and the setting the characters are currently in. If your characters are having sex outdoors don’t feel the need to say the thorns scraping their backsides felt like silk. Stay real, even within fantasy. Here are a few things you should keep in mind: If you are writing romance, remember real-life sex can be bumpy, messy and imperfect. I mean, maybe Edward’s penis glittered like a jewel in Twilight, but no one is using that scene as a barometer anytime soon.Consider the need to accurately represent orgasms and how they are experienced by characters of all genders. Sadly, it’s not difficult to find erotica where a woman nearly climaxes simply because she glanced at the man’s thirteen-inch member. Maybe in your dreams, but readers will laugh…not get aroused.If you are writing a sex scene in Young Adult (they are usually subtle but they do exist) consider important aspects such as contraception and consent. Always stay mindful of the responsibility you carry as a writer for young people.Don’t shy away from things that could go wrong. This type of attention to detail can help contribute towards creating believable sex scenes. Use Appropriate Vocabulary It’s all good and well to say, “call a spade a spade” and all that, but the word spade can get tiring if you say it fifty times in a row. His spade did that, then he took his spade away, then he put his spade on the table. See how monotonous that sounds? Though we might think that euphemisms are cheesy, they are also essential for the simple reason that you can’t write ‘vagina’ eight times in a paragraph and still expect the prose to flow well. But you also don’t want to use overly floral comparisons, or terms that sound outright ridiculous. The best thing is to go back to your research on sex scenes and see what kind of vocabulary is appropriate in your genre. Create a list of synonyms, a spreadsheet, fill a notebook up – whatever works for you. Don’t Overdo It The number of sex scenes in a story should be carefully considered and not overdone. Include a few scenes too many and you are teetering on the brink of erotica territory. So consider if that’s the genre you initially wanted to write in, or if you’re being self-indulgent. Consider Using Humour We know sex can be funny and there’s no reason to shy away from adding humour in a sex scene. Maybe your MC cracks a joke because that would be true to their nature. Maybe funny sounds from the weird neighbour next door adds a pinch of humour to an awkward start. Whatever feels true to you and your story is great, just make sure you don’t cockblock humour just because it’s a sex scene. Use Variety Just like any other action scene, if you are planning on having multiple sex scenes, consider introducing variety (you wouldn’t have three car chases in one movie if you could have a motorcycle chase as well). This will make the scenes more believable and retain the readers’ attention. A mental copy and paste simply won’t work because each time your MC has sex is unique, so each interaction must be marked with its own characterisation and emotional weight. Consider also adding variety to the setting, reactions, dialogue, clothing, and rhythm, in order to keep the reader engaged. In Summary There you have it; sex scenes don’t have to be rocket science. Consider your genre and your story when deciding whether you want sex scenes, and how many of them you might want. Treat the sex scenes as if they were any other scene, apply the same meticulous care to them as you would with dialogue and action. Make sure the scenes move the plot forward, and that characterisation is as evident in them as in the rest of your work. Yes, sex scenes can be challenging but (as we all know with real relationships) practice makes perfect. Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community. 

How to Write Sex for a Young Adult Audience

Sex in young adult literature is one of the topics with the most ‘hot takes’ you’ll ever find. From ‘It’s never appropriate!’ to ‘It’s always appropriate!’ this article will look at the tricky, sometimes controversial, issues involved, before I share some of my top tips for tackling sexual content in your own work.   Writing for Young Adults Let’s start by defining what young adult literature encompasses. YA fiction will typically feature a protagonist between the ages of thirteen to eighteen, although increasingly they’re predominantly in their upper teens. The themes of young adult novels will correlate with the age and experience of the protagonists, mirroring adolescent concerns, motivations and inner thoughts. Young adult fiction is aimed at readers in a similar demographic to the protagonists, although some readers are younger (often eleven or twelve) and an estimated fifty per cent of YA books are actually bought by adults.   You might have already seen what the issue is here. At the lower end, YA fiction has readers who haven’t even started puberty yet. At the upper end, they’re heading off to university. That’s a huge gap in terms of experience and stage of life, and what might be right (and entertaining) for a seventeen year-old reader might not be for a thirteen year-old.   While not everyone has sex, and not every book needs to include sexual content, to not sometimes include it when writing teen characters feels like a glaring omission. Yet what’s acceptable varies from publisher to publisher. When my debut Noah Can’t Even was on submission, some agents and publishers couldn’t get their heads around the fact it featured a fifteen year-old boy who… wait for it…  masturbated. Something that is normal and commonplace for a teenage boy was too much for some gatekeepers in the industry – even against the backdrop of popular publishing ‘buzz phrases’ about how authenticity is important, and teens need to see their lives on the page.   The inclusion of sexual content can also make some schools and libraries nervous, especially if they come under pressure from parents or campaign groups - the recent challenge to Lev Rosen’s Jack of Hearts in a Texas library being a prime example. Meanwhile, some parents are blissfully unaware of the sexual content their children are accessing online, but weirdly furious about content that is far less explicit appearing in written form. When you also factor in religious and cultural sensibilities, it’s a minefield.   Can You Write Sex in YA? Of course you can! With YA books, you’re striving to be authentic to the teen experience, and whether they’re thinking about it, just curious, or doing it, that experience often includes sex.   Before we look at how, it’s important to address the use of the word ‘appropriate’, which regularly crops up in these discussions, and which often masks what someone’s real objection is – namely the inclusion of LGBTQ+ storylines.   “I don’t want my child reading about same sex relationships - it’s not appropriate,” goes the refrain. For other people, no mention of sex will ever be ‘appropriate’, and these people will also typically withdraw their children from sex education classes too.   So, let’s be clear: not discussing these things, not being open and honest, but living in shame, fear and ignorance –those are the things that hurt people. We shouldn’t, as creators, shy away from giving young people the tools they need to help them make safe, informed choices. Some young people can’t access that information easily elsewhere. Maybe home isn’t a supportive environment. Perhaps school sex ed. is lacking. This is so often the experience of LGBTQ+ teens, but it also applies to many other situations young people find themselves in. For me, this is why this subject is so important, and why, while accepting I have to tow the publishing line to an extent, I’ll always fight to include realistic portrayals of teen sexuality in my books.   So, rather than talking about appropriateness, let’s frame this in terms of how much is too much for this age group and their gatekeepers. After all, you want to get published at the end of the day, and a novel containing a hundred pages of overt erotica probably isn’t going to make the cut. However, a storyline featuring teenagers having sex, if described sensitively, will often be deemed acceptable. While there are a few exceptions (Doing It by Melvin Burgess springs to mind) the issue of how explicit you can be is usually the key factor here, and it’s probably the biggest thing that separates YA from adult fiction in terms of writing about sex. While it’s undoubtedly a constraint, you can also use it to your advantage.   How to Write Sex in YA Keep it real. Remember that teenage sexual encounters are often awkward. Conveying this fumbling, nerve-wracking inexperience is important, not just for authenticity, but because many young people use literature as an information source. While porn is overblown, Hollywood is rose-tinted, and the internet is awash with misinformation, YA fiction can be a safe and reassuring place for teenagers looking for realistic portrayals of sex.   This is one reason why explicit material isn’t always helpful, but also why it isn’t necessary – realism is more valuable to the readership than titillation, addressing issues of consent, shame, and safe practices, while giving young people the understanding and language to discuss and explore their own sexual experiences. The best writers do this without it ever being didactic, of course – Lev Rosen, William Hussey, Juno Dawson and Holly Bourne being just a few cases in point.   Don’t Overdo It It’s important not to include sex scenes gratuitously – they need to work within the narrative and support the story. In many YA novels, such scenes may well be the culmination of a romance plot running the entire length of the story. In others, like Lev Rosen’s Jack of Hearts, the content may feature throughout as it’s a key facet of the plot. In the former case, the scenes work because they’re deeply connected with the emotional journey of the characters, so they feel like a natural progression. In the latter, Rosen ensures all his scenes emerge organically from the plot, providing information and a realistic portrayal – a type of sex education, if you like – which is refreshingly upfront without ever feeling gratuitous.   Be Subtle and Sensitive Less can sometimes be more. Writing good sex scenes is incredibly difficult, and you don’t want to stray into cringe territory. In some cases, leaving exact details to the imagination is your best bet, but regardless, be mindful of anything too explicit, especially in books targeted towards the younger end of the market.   Be sensitive to some of your readers’ lack of experience – something that’s too hardcore might not engage your teen reader as much as something that introduces them to the topic a little more gently. Subtle can also make for a pleasing shared joke, which can break the ice when it comes to discussing themes of a sexual nature, which some readers might find awkward.  A brilliant example of this: Read the whole of  Sex and Reproduction in bed last night. Woke up to find that a few hundred million sperm had leaked out. Still, it will give the remaining sperm room to wag their tails about a bit. Sue Townsend’s Adrian Mole Use Appropriate Language Be aware that your choice of language can have a huge impact on what gatekeepers consider suitable for their young charges. While you need to make sure your voice is authentic for a YA novel, (and you need to use language familiar to teens) an over reliance on slang and swear words in a sex scene may have the consequence of making it read more crassly and being perceived as more explicit.   What if it’s Us? by Becky Albertalli and Adam Silvera has some good examples of getting this right, where the sexual scenes never read as explicit.  Remember Emotions   Don’t forget the avalanche of feelings that run through a teen’s head during sex scenes – especially if it’s their first time. Spotlighting these internal thoughts can be a very effective way of conveying the scene, rather than focusing too much on physicality and mechanics. It will also resonate with many of the fears and concerns your target readership will have – Is this right? Are they ready?   Anticipation is Exciting  Anyone familiar with thriller or horror writing knows that there’s as much fun to be had in the build-up and anticipation of something happening, as the event itself. The same can be true of sex scenes. If you get the connection right between your characters, your reader will be willing them together - ‘shipping them’ as the kids say - and doing a lot of the work for you in the process. Sometimes, they’ll then go away and write fan fiction featuring the type of material you weren’t allowed to include, in a sex scene that will make your eyes water.   Funny and Awkward is Good  Humour can be a very effective tool for sex scenes. Sex can be built up into such a huge ‘make or break’ momentous occasion, thanks to the proliferation of that attitude in popular culture. So, why not turn that idea on its head and take a lighter approach? Teens will probably thank you for being honest about the messy, embarrassing, awkward side of it, rather than what the movies and porn tell us it should be.   Lobsters by Tom Ellen and Lucy Ivison is great at using humour to convey some of the most real sexual scenes I’ve ever read, and Editing Emma by Chloe Seager is definitely worth a look too.   Know Your Age Group, Trust Your Reader, and Trust Librarians  If your story is aimed at younger teens, ensure the content you include is right for them. Many books are listed as being ‘Suitable for 12+’ or ‘14+’ and while age banding is a blunt tool, it does mean readers, and gatekeepers, have less cause for complaint when they encounter sexual content. While your book may be picked up by younger readers, in my experience teens are good at knowing whether a book is right for them, and will often abandon one that isn’t. Children mature at vastly different rates and it’s impossible to account for that. Meanwhile, all the school librarians I know are experts at knowing what book is right for which student at which time.  There\'s No Formula... There are myriad challenges when writing sex scenes in young adult fiction and there’s no ‘one size fits all’ solution when including this sort of content. The needs, experiences, and maturity levels of YA readers are so vastly different, you won’t ever tick the right boxes for everyone.   However, sex scenes are an authentic and valuable part of YA stories, and by ensuring your portrayals are sensitive, and emerge out of plot and character you can create something highly effective, rewarding for you as a writer, and truly appreciated by your teen audience.   Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community. 

How To Write Creative Nonfiction

When I read Dancing in the Dark by Caryl Philips, I wasn’t quite sure what I was reading, as it was unlike any novel I’d read previously. But I was curious how the author crafted the “voices” or dialogue, which were so finely tuned and authentic it made me feel as though I was in the thick of the plot as it unfolded. Eventually, it dawned on me that the book couldn’t solely be classified as a novel per se, as the story was based on “real life”; because of its biographical and historical context it sat comfortably within the genre of creative nonfiction.  What is Creative Nonfiction? The term creative nonfiction has been credited to American writer Lee Gutkin, who first coined the phrase in the journal he founded in 1993: Creative Nonfiction. When asked to define what creative nonfiction is Gutkin says simply “true stories well told.”   Expanding on Gutkin’s definition I would add that the main difference between creative nonfiction – also known as narrative nonfiction - and other genres is that in creative nonfiction the focus is on literary style, and it is very much like reading a novel, with the important exception that everything in the story has actually happened.   Essentially, creative nonfiction incorporates techniques from literature, including fiction and poetry, in order to present a narrative that flows more like story than, say, a journalistic article or a report. In short, then, it is a form of storytelling that employs creative writing techniques including literature to retell a true story, which is why emphasis is placed on the word creative. I would underscore that it is this aspect which distinguishes the genre from other nonfiction books; for instance, textbooks which are, as implied, recounting solely of facts – without any frills. Types of Creative Nonfiction The good news is that the expanse of creative nonfiction as a genre is considerable and there is ample scope for writers of every persuasion, in terms of categorisation and personal creative preference. Some terms you may be familiar with, and some are essentially the same, as far as content is concerned – only the phrasing may be interchangeable.   Memoirs Memoirs are the most commonly used form of creative nonfiction. It is a writer’s personal, first-hand experiences, or events spanning a specific time frame or period. In it you are essentially trying to evoke the past… and by the end you will, no doubt, hope to have successfully conveyed the moral of your story. Not in a preachy kind of way but in a manner which is engaging, informative or entertaining.   You should note that there are important differences between a biography and a memoir: in writing a biography you need to maintain a record of your sources – primary or secondary – that will stand the rigours of being fact-checked.   A memoir, by contrast, is your recollection or memory of a past event or experience. While they do not necessarily have to be underpinned with verifiable facts in the same way as a biography, there’s more scope for your creative or imaginary interpretation of an event or experience.  Literary Journalism In the early days of the genre literary journalism hogged the headlines; it was, according to The Herald Tribune, “a hotbed of so-called New Journalism, in which writers like Tom Wolfe used the tools of novelists — characters, dialogue and scene-setting — to create compelling narratives.” The way this fits into the creative nonfiction genre is that it uses the style and devices of literary fiction in fact-based journalism. Norman Mailer and Gail Sheehy were exceptionally skilled exponents, though, arguably, critics contended that both could, on occasion, be so immersed that some of their writing was tantamount to an actor who inhabited their character via method acting.  Reportage and Reporting  Ultimately, the primary goal of the creative nonfiction writer is to communicate information, just like a reporter. If you choose to pursue reportage it is imperative that you pay close attention to notes and record-keeping as reporting is not – as with other elements of creative nonfiction – based on your personal experiences or opinions and, therefore, has to be scrupulously accurate and verifiable.   Personal Essays Other types of creative nonfiction include personal essays whereby the writer crafts an essay that’s based on a personal experience or single event, which results in significant personal resonance, or a lesson learned. This element of creative nonfiction is very broad in scope and includes travel writing, food writing, nature writing, science writing, sports writing, and magazine articles.  Personal essays, therefore, encompass just about any kind of writing. They can also include audio creativity and opinion pieces, through podcasts and radio plays.   The Five R’s of Creative Nonfiction  In Lee Gutkind’s essay, The Five R’s of Creative Nonfiction, he summarised the salient points of successfully writing creative nonfiction and, if you followed these instructions, you’d be hard-pressed to go wrong:  1. Real Life I daresay this is self-explanatory although as a storyteller, instead of letting your imagination run riot you must use it as the foundation. Your story must be based in reality - be that subject matter, people, situations or experiences.  2. Research I can’t emphasise strongly enough that conducting extensive, thorough research is of paramount importance and, not to put too fine a point on it, this is not an area you can gloss over – you will be “found out” and your credibility is at stake. And, no, Wikipedia doesn’t count – other than perhaps as a starting point. Interestingly, by the company’s own admission: “Wikipedia is not a reliable source for citations elsewhere on Wikipedia. Because it can be edited by anyone at any time, any information it contains at a particular time could be vandalism, a work in progress, or just plain wrong.”  3. W(r)ite Not technically an “R” but we get his point… Put succinctly by William Faulkner: “Get it down. Take chances. It may be bad, but it\'s the only way you can do anything good.\" 4. Reflection No-one can negate your personal reflections, but you should be aware, given that what you’re writing is based on “fact” that someone mentioned in your article or book may not necessarily agree with your perspective. The fallout can be devastating and damage irreparable. A case in point was the debacle following publication of Ugly: The True Story of a Loveless Childhood by Constance Briscoe. In the best-selling “misery memoir” the author accused her mother of childhood cruelty and neglect; her mother rejected the claims and said the allegations were “a piece of fiction” and sued both her daughter and publisher for libel, and lost.   It goes without saying that when writing about people who are still alive you need to be especially cautious. Of course, you’re entitled to your own unique perspective but, as Buckingham Palace responded to the Oprah Winfrey interview with Meghan Markle and Prince Harry – which may yet find its way in book form – “some recollections may vary”.  5. Reading It’s often said that the best writers are also voracious readers. Not only does it broaden your horizons but it’s a perfect way to see what works and what doesn’t. And, as William Faulkner admonished: “Read, read, read. Read everything –trash, classics, good and bad, and see how they do it. Just like a carpenter who works as an apprentice and studies the master. Read! You\'ll absorb it. Then write. If it’s good, you\'ll find out. If it’s not, throw it out of the window.”   How to Write Creative Nonfiction We now know what kind of creative nonfiction exists, and what to bear in mind before writing, but when it comes to starting your story…where do you begin?  Structure While it may be tempting to jump straight in and start writing, you will save yourself a headache if you begin by deciding upon the structure or form you want your work to be based on. This doesn’t need big whistles and bells, you just need an outline to begin with, something to shape your thinking and trajectory. It’s always worthwhile to know what direction you’re headed in. Nothing is set in stone - you can always add to it or amend accordingly.   For planning there are different models you can employ but I find it easiest to think along the lines of a three-part play: act one, I open by establishing the fundamentals of what I am going to present; act two, allows me to build upon the opening by increasing the dramatic effect of what’s unfolding; and act three, I bring my thesis together by pulling together different strands of the story to a logical, coherent narrative and, even better in some circumstances, a cliff-hanger.  In your outline you should bear in mind the main elements of creative nonfiction and the fact that there are some universal literary techniques you can use:   Plot and Setting  There are many things from your past that may trigger your imagination. It could be writing about an area you grew up in, neighbours you had – anything which can be descriptive and used as a building block but will be the foundation upon which you set the tone or introduction to your piece.  Artefacts  Using what may seem like mundane artefacts can be used effectively. For instance, old photographs, school reports, records and letters etc. can evoke memories.  Descriptive Imagery  The most effective way to ensure your characters are relatable is to work on creating a plausible narrative. You must also have at the forefront of your mind “Facts. Facts. Facts.” I can’t stress enough how your work must be based on fact and not fiction.  Dialogue  Also referred to as figurative language, when using one of the most effective ways to set the tone of your work, the language used in dialogue must be plausible. You simply need to step back and ask yourself, “Does this sound like something my character would say?” There’s no greater turnoff for a reader than dialogue which is stilted.   Characters  If you want your readers to be engaged, they have to “buy what you’re selling” i.e. believe in your characters.   Top Creative Nonfiction Writing Tips Stick to the Facts  Even a mere whiff of fiction in your writing will automatically disqualify it as creative nonfiction. To make sure you haven’t transgressed it’s easier to avoid doing so altogether. Although it’s fine to incorporate literary techniques which include extended metaphor, allegory, and imagery, among others.  Research You will also need to make note of the references you have relied upon. Not only is this good housekeeping it is also what’s expected of a professional writer. There are a multitude of places you can begin your research: family recollections/oral history; my local library serves aspiring writers well with both a respectable catalogue of physical books and online resources such as the British Newspaper Archives; Ancestry; and FindMyPast, among them. These are invaluable tools at your disposal and the list is by no means exhaustive.   Checklist  So, to conclude, what are the takeaways from this guide?   Firstly, methodically work your way through the checklist contained within the 5 R’s. Also, remember, whatever your interest, the extent of creative nonfiction dictates that there’s likely to be a market for your writing.   But, at all costs, avoid falling into the cardinal sin of making things up! It may be tempting to get carried away with being creative and miss that the finished product absolutely must be anchored in facts – from which, no deviation is acceptable.   Indeed, please ensure everything you’ve written is verifiable. You never know when someone is going to fact-check your thesis or challenge an assertion you’ve made.  Best of Both Worlds All in all, creative nonfiction is a wondrous way of telling an important and real story. Never forget that even though you are writing about factual stories and scenarios, you can still do so in an imaginative and creative way guaranteed to bring your readers on a journey of exploration with you.  Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community. 

Writing Flash Fiction: A Complete Guide

Have you been meaning to write flash fiction, but been put off by the different word counts and apparent ‘rules’? In this guide you’ll get a brief introduction to flash and its history, then we’ll talk about the essential elements to include in your flashes. I’ll also give you a checklist as an aide-mémoire at the end of the guide. And if by the end you feel confident enough to enter a few competitions, check out our guide to the best flash fiction competitions. What is Flash Fiction? ‘Smoke-long’ is my favourite (albeit not very healthy) description for a piece of flash fiction, because it refers to the time it takes you to read the story – the same amount of time it would take you to smoke a cigarette. Some flash fiction is even shorter, one puff-long if you like.  Japanese writer Yasunari Kawabata referred to them as palm-of-the-hand stories. Flash fiction is also known as fast fiction, sudden fiction, postcard fiction, a micro-story, a nanotale, a short short, amongst other names.  So what exactly is flash fiction? In a nutshell it simply means very short fiction.  The longest flashes are generally considered to be 1,000 words, the shortest 6 words. Try writing and reading each of these and you’ll soon realise there’s a big difference. In 2007, the Guardian newspaper challenged several well-known writers to write 6-word short stories. Take a look and decide for yourself whether they succeeded.  Just as a short story isn’t a truncated novel, flash fiction isn’t a truncated short story. The challenge, with very short fiction, is to tell a complete story within the word count, one thing that differentiates flash fiction from prose poetry. This gets harder the shorter the word count, and that sense of challenge is one reason flash fiction is so popular. For example, in the above Guardian article, Blake Morrison’s story “Womb. Bloom. Groom. Gloom. Rheum. Tomb” gives a sense of a whole life, with a beginning, middle and end, or an overarching narrative – but contains no detail – whereas Jim Crace’s “See that shadow? (It\'s not yours.)” suggests a story, which readers tell themselves.  Arguably a piece of flash fiction is unique in the way it invites the reader to tell themselves the story like this. Other forms of prose writing do this, but because of their length, they also provide detail and narratorial incursion. In flash, this detail and incursion has to be nifty, playful – or cut out entirely. Hemingway’s $10 bet The above two stories were written in response to the famous 6-word short story allegedly written by Ernest Hemingway as part of a bet over dinner, which won him $10: “For sale: baby shoes, never worn.” As with Crace’s story, this one suggests a story which the reader then infers, and it’s probably the most famous flash fiction story in circulation today.  However, it is likely Hemingway never wrote this story. You can read the background in this article. There isn’t much evidence that the bet took place, and if it did, earlier versions of the story had appeared in newspapers several years earlier, so he was probably repeating something he had read, as an amusing riposte. Writers from all over the world have used the flash form, including Jorge Luis Borges, Kate Chopin, and Italo Calvino. In fact, ancient myths and fables can be considered a form of flash fiction. This article by Sandra Arnold will give you a sense of the history of flash fiction – very handy if you want to learn about flash fiction in literature. She attributes the first use of the word ‘flash’ to an anthology edited by James Thomas in 1992 – giving more of a sense of the experience of reading the finished story, rather than the word length. Flash Fiction Sub-Genres Flash fiction has a range of subgenres but in the same way, they don’t necessarily have strict definitions either. But if you’re looking for a general guide to flash fiction word counts, we’re here to help.  Here’s a rundown, from the longest to the shortest: 1. Novel-in-a-flash and Novella-in-a-flash. This is essentially a sequence of flashes up to around 18,000 words. 2. ‘Sudden fiction’ or simply ‘flash fiction’ refers to stories of up to 1000 words or sometimes 1500 words, or two pages of an anthology. The ‘up to’ is important. These are usually loose guidelines.  3. Nanofiction or microfiction refers to stories up to 300 words, but the constraint can be stricter than that. Here are some examples: Postcard fiction: stories that can be written on the back of a postcard. Twitterature: microfiction, derived the original Tweet limit of 140 characters. Stories of exactly 100 words http://www.100wordstory.org/, known as the Drabble, or exactly 50 words https://fiftywordstories.com/, known as the Dribble. Not so exacting, some calls for submissions ask for fiction under 50 or under 10 words. Twitter Flashes Twitter is alive with flash fiction. I recently tweeted out a call for resources and the flash fiction writers of Twitter didn’t disappoint. Here are some of the responses.  Thank you to Laura Besley (@laurabesley) who suggested the following journals: @FictiveDream @EllipsisZine @FracturedLit @EmergeJournal @CraftLiterary @50wordstories @101words @flashficmag @flashfroglitmag And these follows:  @kathyfish (who has a flash fiction newsletter) @megpokrass @TommyDeanWriter @nancystohlman Thank you to El Rhodes (@electra_rhodes) who suggested the following: @BBludgers for competition info. @sagetyrtle for a list of UK flash mags.  @FlashFicFest runs an event end of October. @FlashRoundup digests new flash regularly.  Edited highlights of the rest of the responses include: Shorts Podcast (@ShortsthePod), a podcast about the contemporary short story, including flash, @SmokeLong, a journal that has 18 years\' worth of archives, and @RetreatWest, which has over 150 flash stories published on their website, plus 9 anthologies of flash and shorts. Key Elements of Flash Fiction How do you go about writing flash fiction? Flash fiction stories usually include certain key elements, which I’ll explain here, but having said that, one of the elements of flash is its ability to surprise, and the continuous development of the form, creating new writing challenges and new ways of thinking about storytelling. Therefore, it is best to check several different sets of submission guidelines before editing and sending out your work. Story Plot Here are some general guidelines on how to create flash fiction, part of a range of techniques that go into creating short short stories: A piece of flash fiction isn’t a scene from a larger piece of fiction, or an extract. It is a stand-alone, and a complete story. Flash isn’t usually a ‘moment in time’ like a prose poem could be, or a discussion of the narrator’s opinion on something. It has narrative drive. Most flash fiction stories have a beginning, middle and end. This is possible even with the shortest short stories, like Blake Morrison’s “Womb. Bloom. Groom. Gloom. Rheum. Tomb.”But the shorter the flash gets, the more likely it is to use Jim Crace’s “See that shadow? (It\'s not yours.)”  technique and to require the reader to create the complete story for themselves, through implication. Morrison and Crace both provide us with a guide to plotting flash: 1) begin, grow, develop, make things get bad, provide resolution, and 2) make the reader form the story in their own mind. Few Characters What do you do about characters? How many should you include?  Read plenty of examples so you can see how other writers do it, but here’s a rough guide: Keep the number of characters in your flashes to a minimum. Often, you’ll only use one character, or two, as protagonist and antagonist.As you only have a few words available you can’t dwell on anything very much, and that includes character development.To create characters, you can use brief but pertinent descriptions (he wore his best suit trousers over his broken leg), unusual connections (petunias always make the best guard dogs), suggestive statements connecting place and character (he worked as a stripper at the fire station) or assumptions (I didn’t fit in and neither did my imaginary friend). A Hook It’s important to start strongly when writing flash fiction. You don’t have time for explanations. The aim is to ‘hook’ your reader in, engaging them from the first few words. When Tania Hershman starts a story with ‘My mother was an upright piano’, from a collection of the same name, we’re hooked in by the unusual image, which hints at conflict with the narrator. Create your ‘hook’ from conflict because stories thrive on conflict.Both ‘in media res’ and ‘mis en scene’ are important when writing flash. ‘In media res’ means starting in the middle of things, whereas ‘mis en scene’ refers to the arrangement of actors and props, scenery etc. to create a ‘stage picture’. With fiction, the stage is the reader’s mind. 1) Plunge right into the action, cutting extraneous introductions, and 2) create a picture in the mind of the reader using as few words as possible. Don’t do one without the other. Strong Finish Flash fiction writers often use a twist or (more loosely) an unexpected ending. The unexpected ending is like a punchline, it emphasises the ending. They make the ending live on in the readers’ memory, aiding the sense of the reader creating the story in their own mind. If the ending were subtle, the short short story could easily feel like an extract. Making the ending like a sort of punchline gives the flash a shape. That doesn’t mean to say that all short story stories use twists or the unexpected, but it is a technique you’ll see a lot when you read examples of the form. Honed Editing Editing is important with any piece of writing. In fact, I’d go as far as to say redrafting is writing. The first draft provides you with the words you’re going to play with, and in subsequent drafts you form those words into what you want them to be.  Editing takes on an extra function in short fiction writing – I mean specifically anything under 2,500 words – and the shorter the word count, the more this special function applies. Within whatever wordcount constraint you’ve undertaken, you are attempting to hone the writing to create the maximum meaning and story experience for the reader in the fewest words possible. You need to do both of those things for the story to be successful. When writing flash, you may well write much more than you need in the first draft and then cut by chipping away at extraneous words and story threads until you’ve reached the word count required. It sometimes helps to do this in sections, like this:  Divide the word count into beginning, middle and end. Usually the middle is twice the length of the beginning and end, so in a 1,000 word story, the beginning and end = roughly 250 words and the middle = 500 words.Write your story without worrying too much about word count.Now edit each section in turn to get it to the required amount. When editing, you’ve got to be hyper-aware of every word you choose to use. Read Plenty of Flash Fiction From reading plenty of flash you’ll learn how to create a strong start, launching straight into the action, how other writers create characters economically and how they use as few words as possible. Because the flash fiction community is so vibrant, and there are so many opportunities to share your work, from reading you’ll also learn about being a literary citizen, and how to promote the work of other writers, while putting your own work out there. Up for a Fun Challenge? Writing flash fiction is a fun challenge and a great exercise for writers. You also get the chance to become part of the online flash fiction community. Here’s a quick summary of this guide: Read plenty of flash fiction and become part of the flash fiction community. Use your first draft to get your ideas down without worrying about word count, then edit.Create a strong start by launching straight into the action.Use as few words as possible. Use ‘in media res’ and ‘mis en scene’: 1) Plunge right in, and 2) create a picture in the reader’s mind.Use one or two characters and develop them economically.End with a twist or an unexpected ending.Use ruthless editing and redrafting to hone your flashes to get them down to the required word count. Have fun, keep practicing, and in a flash you’ll become a flash fiction aficionado! Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community. 

12 Top Tips on Writing Flash Fiction

Writing flash fiction can be a lot of fun, but it can also be a real challenge. I’ve been a children’s author for the past fifteen years, and I’ve also been writing flash fiction stories since before I knew the term. In this article I will be exploring the meaning and definition of flash fiction, its characteristics, and sharing my 12 top tips while drawing on my own writing experience. What is Flash Fiction? Flash fiction is also known as Sudden Fiction, Drabble, Nanotale or Microfiction. It refers to very short pieces of prose writing. Usually under 1,500 words, the word limit can vary depending on which publication, website, or competition you are writing for. It was popularized in the nineteenth century by writers like Walt Whitman, Kate Chopin, and Ambrose Bierce, but some of the best flash fiction is still being written (have a Google and see what’s out there).  It is also a genre that lends itself well to competitions (way quicker for judges to read entries than your average writing comp). In a world of thumb scrolling and multimedia distractions, it is also an appealing form for writers and readers, because once you get the hang of it you can write an entire story on just one page. Flash Fiction Characteristics The defining characteristic of flash fiction is that it is both short and fictional. So, what is so appealing about having such constraints imposed on your creativity? One of my publishers once set up a competition called 24/7 which involved several authors writing stories with a maximum of 247 words. After I had submitted mine, the editor commented that he was surprised that all the authors had chosen to make their stories precisely 247 words (and no less). It was not a surprise to me. Often the constraints of a commission like this are part of the appeal. They present a challenge. They are puzzles to be solved, and ones which require intricate and precise solutions. So let’s take a look at my top tips for tackling the trickiest of short story writing… How to Write Flash Fiction – 12 Top Tips A good flash fiction story takes the reader into a world which is already established - where things are happening. But it’s not as simple as merely hitting a small word count. Here are some things to consider when writing flash fiction. Select Your Genre Flash fiction can be in any genre, therefore the perfect opportunity to try something new. Whether you usually write romance, thriller, horror or sci fi, consider using your flash fiction to try something new. Unlike novel writing, there’s no need to worry about worldbuilding or backstories – just jump straight in! Choose an Overarching Theme One of the things I notice when I write my flash fiction is that the ideas that most attract me are often related to current events: things I’ve heard on the radio or read about online. I take a news story then think about how one moment of that story could affect one or two of the people involved. From these thin slices of life, you can explore broader subjects such as love, death, power or family. Have a go yourself at re-writing a piece of history in just a handful of words. Use One or Two Key Characters With such a limited word count, you might find it helpful to focus on fewer characters. Try making your protagonist complex or flawed or putting them up against their antagonist from the onset. Choosing first person over third person is also worth considering as it throws the reader straight into the action. Make Every Sentence Count and Don’t Rush As a writer, I both suffer and benefit from both optimism and selective amnesia. I always think that things won’t take long to write. You need a picture book text about dragons in a week? Sure? You need a short story on the subject of sharks in a few days? No problem.  I never learn.  Just because you have fewer word to manage, that doesn’t mean your piece of flash fiction will take any less time to write. Quite the opposite. In many cases, shorter pieces of writing will take more time than longer ones, as you are forced to peel away the unnecessary words in order to find the core of your narrative. I often imagine writing as an act of carving. I throw a pile of words at the page then, through editing, chisel away until I find the shape of the story. This is precisely the technique that is required to make a short piece of fiction impactful and worth reading. Prompt Visualisation One way to draw readers into your story is to focus on one powerful picture or piece of imagery around which to build the story. For inspiration why not look at pictures in a magazine or newspaper, an old photo album, or a piece of art. Sometimes, something as simple as an image of a half-eaten apple, can inspire you to create a glimpse into a story that will entice your readers. Because that is what flash fiction is, a glimpse – a flash – of a story that could easily belong in a much larger world. Start in the Middle & Use Descriptive, Concise Language The reason a lot of flash fiction starts in the middle, is because there’s no time (ie words) to build a rambling intro. It’s the same when writing my children’s books - I don’t have time to spend on floral descriptions, I need to grab my readers from the first line. That’s why the story must start at the most exciting (or most dramatic/upsetting) point, which is often the inciting incident in a longer novel (at about 20%) or the midway point. This is also true of Flash Fiction. Don’t introduce the story - tell it. Your characterisation has to be precise, efficient and entertaining too, without relying on lazy stereotypes. Whether its dialogue or description, every word needs to earn its keep.  Deal with a Single Conflict Flash fiction is not the same as prose poetry. Something should happen. Something should change. It requires a beginning, middle and end. In other words, your story requires movement. It is unlikely that you will have time for a subplot or backstory, but the longer you spend on your piece of writing, the more you will discover you can wrap things up in surprisingly few words. Most fiction is driven by conflict, but with flash fiction you will most likely need to limit your conflicts to one single struggle or choice that your character encounters. Use Descriptive, Concise Language Good writing is all about precision and there’s nothing quite like a strict word count to really sharpen your text. Keep sentences short, and don’t use three words where one will do.  Even if you have no intention of submitting your flash fiction for competition or publication, it is still a useful exercise to try to hone your writing skills. It’s also useful to learn if you write non-fiction or marketing copy - the more you can say, in as fewer words as possible, the more impactful your message. Create Surprise and Provide a Twist One subgenre of flash fiction is Twitterature, in which you have to tell a story in the form of a tweet. That’s 280 characters these days but it was even shorter when I wrote this in answer for a call for twitter stories using the hashtag #StoryShop.  “The shop sold plots, themes, characters, dialogue etc, but reaching the section on twists I realised it wasn\'t what it seemed. #StoryShop” One of the things I struggle with when I write my own flash fiction is my natural inclination to include a dramatic or amusing twist. This is often seen as a key component for a good short story, and one which can certainly be put to good use in flash fiction, but for many publishers and judges it is not as necessary as you may think. A good piece of flash fiction often simply illuminates a fleeting moment, causing the reader to pause and reflect on something or see something differently. If you can surprise your reader then you’re onto a good thing, but that surprise doesn’t necessarily need to appear at the end. Present a Memorable Last Line I once wrote a joke book, which also included hints and tips on writing jokes. In a sense, joke writing is another form a flash fiction. Comedians will tell you that a good gag relies on a precise choice of words and carefully formulated sentences to ensure that the punchline lands in exactly the right place. Just as flash fiction doesn’t require a twist, neither does it call for a punchline, but you’ll still want to find a final line with a little punch. Write a Powerful Title With my own writing, I often start with the title as that can ignite all sorts of ideas for the story. With so few words to play with in flash fiction, your title is a part of the story. Make it catchy, memorable, and in keeping with the theme. You can even be clever with it. Like a piece of art, the title may well provide a different angle in which to view the story. Get Others to Review and Critique Your Story Sometimes it’s hard to find beta readers to read your novel, but when writing flash fiction there’s no excuse for your story-loving friends not to take five minutes to look over your story and see if it impacts them the way you intended. Like with all forms of writing, it’s vital to be open to criticism and suggestions – plus you’ll be getting your friends hooked on flash fiction too! And Finally… Enjoy the Challenge I read various examples of flash fiction before I sat down to write this article, including several stories penned long before the term was coined. One of the most famous flash fiction stories - and one of the shortest - is this example of the six-word story. “For sale: baby shoes. Never worn.”  The origin of this story is unclear, but the story of the story (that Ernest Hemmingway wrote it to win a bar bet) is as intoxicating as the alcohol that Hemmingway is said that have earned for writing it. It’s the idea that you don’t need a lot of words to move and inspire your readers. But to do this, you do need to find the heart of the story.  However short your piece of writing, flash fiction can be extremely rewarding. Not just in how it forces you to hack away all unnecessary words, but also because it affords you the opportunity to play with a nugget of an idea and, hopefully, come up with something interesting, fresh and illuminating. Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community. 

Writing Humour – Injecting Humour Into Your Story

So, you want to learn how to make your readers burst out laughing, but you can’t even get a pity laugh out of your own grandma? This guide is all you need to gain an understanding of the common forms of humour in writing, and how to use humorous writing techniques to inject comedy into your own writing. Read on to find out how! What Is Humour Writing? Humorous writing is any piece of writing that’s written with the intention to prompt amusement and to be funny. There are many forms of humour you can inject into your writing to turn a ho-hum piece into a side-splitter.  Types Of Humour In Literature From the subtle humour of satire or deadpan, through to in-your-face farce and slapstick, once you have a solid grasp on what forms of humour exist and how to use them, you’ll have a vast toolbox at your fingertips to make your readers smirk, giggle and howl with laughter in any situation.  Let’s dive into some of the most common ones, along with some humorous writing examples to help you recognise these techniques in the wild. Anecdotal An anecdote is a brief, humorous story about a real-life experience. Think of Michelle Flaherty from American Pie, and her endless anecdotes revolving around “this one time, at band camp”. Dark Dark humour, also known as black humour, morbid humour or gallows humour, is a form of humour that makes light of anything especially sad or serious. The term ‘gallows humour’ actually dates back to the 1800s, when people would joke about being hanged at the gallows. ‘On my license, it says I\'m an organ donor. . . I wonder what poor asshole would get stuck with whatever it is in me that passes for a heart.’ ‘My Sister’s Keeper’ – Jodi Picoult Deadpan Deadpan humour, otherwise known as dry humour, relies on delivery to land correctly. Usually a statement will be humorous in content, perhaps even over-the-top or ridiculous, but the wording and delivery of it is intended to be casual, almost as though the speaker is unaware they’re making a joke at all. The word deadpan comes from the slang term ‘pan’, used for ‘face’ in the early 20th century. So, to have a dead pan was to have a face that showed no expression or emotion. ‘Through my curtains I can see a big yellow moon. I’m thinking of all the people in the world who will be looking at that same moon. I wonder how many of them haven’t got any eyebrows?’ ‘Angus, Thongs and Full-Frontal Snogging’ – Louise Rennison Farcical A farce, or farcical humour, is a form of humour that derives its comedy through the absurd ridiculousness of a situation. A farce will often use miscommunication to create humorous scenarios and misunderstandings. For example, Shakespeare loved to employ farce. Think of A Midsummer Night’s Dream, where mistaken identity and confusion causes a love quadrangle. Ironic When something appears to be the case, or should be the case, but the reality is the opposite, you’re dealing with irony. For example, a fire department catching on fire, or the world’s leading skin cancer expert dying after they mistake their own melanoma for a benign mole. At the start of Pride and Prejudice, Jane Austen writes: ‘It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.’ As the narrative quickly goes on to show us single women spending much time and energy finding a husband, we grow to understand the irony in that opening sentence. Parodic A parody is an entertainment piece produced to mimic an existing work, artist or genre, but dialled up to a hundred in order to poke fun at it. The humour comes from highlighting flaws and overdone tropes through an exaggerated portrayal. For example, think of Austin Powers, which parodies James Bond. Or Bored of the Rings by Douglas Kenney, a parody of Lord of the Rings. Satirical Satirical writing uses wit to make a point about power—be it a commentary on the government, the privileged, large corporations, etc—and aims to cause readers to think deeply about society, and what can be done to improve it. Satirical works range from political cartoons you’ll find in the newspaper, through to books like Small Gods by Terry Pratchett, which satirises organised religion. Self-Deprecating Self-deprecation is a form of humour where an individual makes a comment about their own flaws and shortcomings in a light-hearted manner. ‘They all laughed when I said I\'d become a comedian. Well, they\'re not laughing now.’ ‘Crying with Laughter: My Life Story’ – Bob Monkhouse Situational Situational humour is any type of humour that arises from the situation characters find themselves in.  Think of a character going to a babysitting job and finding out the child is actually the antichrist, or a character going on a blind date only to find themselves face to face with the horrible customer they served at work earlier that day.  Slapstick Slapstick refers to physical humour involving the body. It often involves some form of pain (think falling, or having something fall on you, or accidentally breaking a piece of furniture while using it) or otherwise odd things happening to a body (like a hose going off in someone’s face unexpectedly). An excellent example is America’s Funniest Home Videos. Tips For Writing Humorous Stories Okay, so we’ve covered some of the more common types of humour, and you’re ready to find out how to develop your own humorous writing style? Luckily, all writers have the ability to write humour, even if it’s not something that comes easily to you at first. All it takes is practice! Here are some humorous writing tips to leave your audience cackling. Study Other Writers Think of a piece of writing you found hilarious. Read it carefully. Note what it is that makes it so amusing. Can you spot any of the forms of humour we covered above? Once you can recognise and categorise humour techniques and forms, you’ll find that determining which form of humour fits your own writing in which situation will start to come more naturally. Use Your Own Material Do you sometimes make comments that other people find hilarious? Take note of your own jokes (literally—write it down for yourself to use later) and refer back to them while writing. You’ll be surprised how often you can find a natural spot for that joke to make a recurrence. Use Juxtaposition Utilise juxtaposition, or pairing opposites near each other to highlight the differences between them. Think The Odd Couple, or Bert and Ernie from Sesame Street. There are plenty of humorous opportunities for a slacker character or a type-A character, but that humour is magnified if those two characters share scenes. Master Comedic Timing Comedic timing plays a huge role in how a joke lands. Pay attention while you’re reading or watching comedy, and notice how long a joke goes on for, and where the punchline lands. Like stories, jokes have their own arcs: setup, anticipation and payoff. For an example of excellent comedic timing, give Don Quixote a read. Use Alliteration Alliteration, or stringing together words beginning with the same consonant, can make text both more amusing and memorable. Roald Dahl was very partial to this technique. Willy Wonka and Bruce Bogtrotter are amusing and memorable names. Steve Wonka and Bruce Robertson would’ve been less so.  Use Amusing Words Similarly, note how some words simply sound funnier than others. Some comedians believe words with a ‘k’ sound in them are perceived to be funnier. Think about some of the more absurd words in the English language, like filibuster or absquatulate. Get in the habit of searching for synonyms, and ask yourself if the joke would be funnier with a different word choice. Provide Surprise Jokes often involve the rule of three, or listing three things, two straight, and one punchline. Think two brunettes and a blonde, or an Englishman, an Irishman and an American. The first two points establish a pattern, and the third point breaks the pattern, creating humour through surprise.  \'FEDERAL FUNDING, TRAVEL EXPENSES, BOOTY CALLS, AND YOU.\' ‘Red White and Royal Blue’—Casey McQuiston Exaggerate Exaggeration is a widely used humorous technique. Make sure to exaggerate to an extreme extent, going well over-the-top. For example: ‘Mum said I should walk to the shops, but it was about fifty thousand billion degrees outside, so obviously that wasn’t happening.’ Writing Humour By knowing these forms of humour, and following these tips, you can learn to inject humour into your writing in a way that will both amuse your readers, and make your writing more memorable.  Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community. 

How to Write a Story Pitch

You’ve just typed ‘The End’ and you know that this story or article is hands down the best thing you have ever written. I believe you. I do. But before you go attaching your work and bashing out an email where you will tell the recipient that this story will take the world by storm, let’s take a little time to concentrate on arguably the most important part of your road to publication: Your story pitch. With submissions in publishing at an all-time high, with most agents receiving around forty to fifty submissions a day, the job of your story pitch is to (as quickly as possible) make your story stand out from the crowd. In this guide we will look at how to grab the attention of your pitch reviewer from the minute they open your email.  In just the opening line, we are going to make your reader sit up and take notice of your submission. Not only that, but we’re also going to tell them why it will sell, why they should pick your story above all the other submissions, using the example below of a story pitch template. So, before you go hitting that send button, let’s talk about why getting your story pitch right is important and what you need to do to get it right the first time. What is a Story Pitch? A story pitch is a succinct way of explaining what your story is about, what makes it right for the person you are pitching it to, and why it will sell. Pitches are used throughout the publishing industry, be it journalists pitching to newspapers and magazines, screenwriters wanting the next hit on Netflix, or authors hoping to grab an agent’s attention with a view to bagging that all important publishing deal.  Regardless of where in the industry you are aiming to see your work, a good story pitch is vital if you’re hoping to break into this highly competitive market. Why is it Important to Know How to Pitch Your Story? As a new writer, the question I most dreaded was, ‘What’s your story about?’ I would describe what happens at the beginning of the book, waffle on using words like, ‘oh and then’ and ‘meanwhile,’ and after five minutes I would see the person’s eyes glaze over. Publishers, agents, and booksellers do not have that time. Not only do you need to be able to pitch your idea quickly, but they will also need to when they try to sell it to publishers or bookshops. The good news is that if you can show them how easily your story will grab a reader’s attention from the onset, then you’ve just made their job a whole lot easier. How to Pitch a Story Right, so you have this killer story, you know it’s something special, so how on earth do you describe this masterpiece in just one line or, at best, a short paragraph?  The easiest way is to focus on the key elements of your story (for novel submissions, forget about your side characters and subplots for now, that will all become apparent in your synopsis). To hone your pitch, you need to concentrate on the key elements of your story, why it will fit that publishing establishment and why they need you. So, what does a good story pitch include? A hooky first lineA short paragraph describing your story by focusing on the key elements. For fiction these will be your protagonist - the event that upsets their world; what they hope to achieve and what is getting in their wayA popular comparison to explain genre, setting, themeA reason why your work will fit that establishmentCredentials explaining why they should work with you Simple right? But what if you’re not sure of the answers to these questions? Know Your Story Before you begin writing your pitch, you must be able to identify the key elements of your story. For a novel submission, here are five key components you must highlight when writing a good story pitch. 1. Your Protagonist The first thing a pitch reviewer will be asking is who is your protagonist and most importantly why should we be rooting for them? You might know the answer to this, but to pitch successfully, you need to tell that agent/publisher why your readers are going to want them to succeed. Unless we are rooting for them, why should we care what happens to them? Why would we keep turning the pages? Your explanation of your protagonist can be as simple as a bubbly hard-working woman called Helen who has never caught a break, or on the other end of the spectrum, we could have Rob, a grieving father who has tracked down the person who killed his daughter. 2. The Event That Upsets Their World Now we know and are championing your protagonist, what happens to push them out of their comfort zone and into a new world? This is very important because this is often where you will find the hook of your novel, the reason that a reader will have picked up your story from the shelf, the thing that screams out from the blurb. So, does Helen, the bubbly hardworking woman suddenly get offered the job of a lifetime? Or does Rob the grieving father kill the wrong person? 3. What do they eventually want to achieve? What is their goal? Now we have your lovable protagonist thrown into a new world, what is it they want? Does Helen now want to leave the new high-pressure job? Does Rob want to atone for his mistake? 4. What is standing in their way? Next, what is stopping your protagonist from getting what they want?  Has Helen become tangled up in some dodgy dealings with her new employer? Does Rob’s victim’s family come after him? Now you know these answers, it’s time to show where your story fits in the market. 5. Compare Your Story Finally, and very importantly, what book can your story be compared to? Not sure? No problem, these comparisons can be a mix of literature, film or simply an author. It’s all about highlighting the story and the style of writing. Feel free to mix them up! The above examples could be ‘If Sophie Kinsella had written The Firm’ or ‘Dexter meets Gone Girl.’  Take some time to think about comparisons, your examples should reflect your genre, protagonist, and style.   Do Your Research Congratulations, you can now identify the key elements to your story and you have your comparisons ready - so what now? The first thing is to research the organisation you are targeting. Take some time to look at the novels on their lists, or if you’re pitching a magazine or newspaper check if they have published similar articles and when?  Follow Submission Guidelines I know you’re chomping at the bit to get your story out there, but a word of caution. Check the submission guidelines. If the agent/editor/magazine asks for a one-page synopsis, do not send them three. If they only accept email submissions, do not send them a hard copy. If you can’t find submission guidelines on their website, then contact them for clarification. Ensure A Clear Subject Line for Email Pitches Once again, make sure you comply with the submission guidelines. Often an agency will have an email address specifically for submissions; the most common format in this case would be to have your book title followed by your name in the subject line. Check what they are looking for. Engage with a Strong Opening Line Right then, here we go.  You’ve checked who you are sending your submission to and you have stuck to the guidelines - so now it’s time to grab their attention. Remember that first impressions count, so before you explain your idea in more detail, grab your pitch reviewer’s attention with the very first line. A good way to do this is by using the words ‘what if’ or ‘imagine’: ‘What if you landed your dream job only to find out that you couldn’t escape it?’ or ‘Imagine if your daughter was murdered and you knew where her killer lived.’ Within your first line you have grabbed their attention, pitched your hook, genre and shown your protagonist. Construct the pitch Now is the time to expand your story pitch in a short paragraph revealing those all-important key elements:  ‘Imagine if Sophie Kinsella had written The Firm, this is what you get in my romantic comedy THE DREAM JOB where we meet Helen who…’ or ‘With shades of Gone Girl and Dexter, my psychological thriller I KNOW WHERE YOU LIVE follows Robert Green, a grieving father who is set on a path of revenge when he finds out where his daughter’s killer lives…’  Provide Compelling Reasons to Publish You have their attention, they like your idea, so why should they consider your story for publication as opposed to the other pitches in their submission pile? Easy, you tell them!  You tell them where it sits in the market, which titles are similar but what makes your story stand out: Do you have an unusual protagonist? Is it set over the course of just one week? Or in a village during a power cut?  This is your chance to show them you know what you’re talking about and how this book is going to make them (and you!) a lot of money. Tell Them About Yourself You’ve done it, you’ve intrigued them - now they need to know about you. Tell them about your qualifications, your credentials and background but keep it brief.  If you haven’t got any qualifications, explain why you’ve decided to become a writer. If you have been published before, mention this and provide a link to any relevant online resources or profiles.  Thank Them for Their Attention Last, but not least, thank the pitch reviewer for their time and attention.  Always be polite and professional.  If you have established a positive professional relationship already, they may keep you in mind for future projects.  Story Pitch Template Excited? I am!  You now have all the tools to pitch your story - so here is a basic story pitch template to help you along the way: Subject line: Follow the guidelines for story pitches to agents/publishers. This will often be your book title followed by your name. Salutation: Be sure to address this to the correct person. If you are unsure who will read your submission, a simple ‘Hi!’ will suffice.Headline and Introduction: Start with a simple and brief ‘I hope this email finds you well’ then get straight to your one-line story pitch or headline, if you are approaching magazines/newspapers.  Make this as engaging and grabby as you can! For fiction, here is where you can use your ‘Imagine’ and ‘What if…’ sentence starters.Story Summary:  Make this a short, concise paragraph where you focus on the key elements to your story.Story Relevance: Explain who this story will appeal to, why it stands out from the crowd, why it will sell. Author Bio: Add your credentials, background, qualifications, or if this is your first foray into the publishing world, explain why; be passionate about your decision.Contact Details: Give details of how you wish to be contacted.  Make sure this is all correct. One typo in an email or missing number in your phone number could mean all the difference.Thanks: Thank them for reading your pitch, be polite, friendly and professional at all times (especially if you are rejected). Writing a Story Pitch And there we have it! I hope that this guide helps you understand the importance of your story pitch and what is needed to pitch successfully.  Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community. 

What is Purple Prose?

How To Spot Purple Prose In Your Writing And Make Your Prose Tighter And More Effective In this guide we’ll look at the definition of purple prose and consider examples of its use. If you’re worried your writing is dangerously close to the purple zone, we’ll help you transform it into tight, effective prose that agents and editors will fall in love with. Purple Prose Definition Purple prose is flowery and ornate writing that makes a piece of text impenetrable. It is characterised by long sentences, multi-syllabic words, excessive emotion, and a plethora of clichés. It’s typically melodramatic and often too poetic. It’s frowned upon because it breaks the flow of a story, slows the pace, detracts from the text, and leaves the reader perplexed or, even worse, bored. It can pop up in patches throughout a story, or it can weigh down an entire novel. Purple prose is most likely to creep into your writing if you’re trying too hard to impress your readers by emulating the style of your favourite author. Or perhaps you’re just being a little over-zealous with your word choices.  We’re all guilty of over-embellishing our writing from time to time. We’re writers - we love words, so who can blame us for getting a little carried away when immersed in a powerful new scene? But if we want our writing to be taken seriously, we need to make sure we don’t go too far. Purple Prose Examples Many authors have been accused of the sin of writing purple prose over the years. Harriet Beecher Stowe’s ‘Uncle Tom\'s Cabin’ oozes mushy sentimentality, with sentences such as, ‘Even so, beloved Eva! Fair star of thy dwelling! Thou art passing away; but they that love thee dearest know it not.’ Even though it was written in 1852 when such contrivances were more accepted, this is still considered one of the most purple of the classic texts. Another great example is this short extract from Jim Theis’s 1970 fantasy novella, The Eye of Argon which seeps purple prose from every pore.  ‘Glancing about the dust swirled room in the gloomily dancing glare of his flickering cresset, Grignr eyed evidences of the enclosure being nothing more than a forgotten storeroom. Miscellaneous articles required for the maintenance of a castle were piled in disorganized heaps at infrequent intervals toward the wall opposite the barbarian\'s piercing stare.’ If you’re worried your writing might be tinged with too much purple, take a look at the following red flags, and read how to make your writing leaner and more readable. Purple Prose Red Flags: 1. Too Many Adjectives And Adverbs Writers love adjectives, but if used excessively they become a distraction, interfering with your story and making your prose a deep shade of purple. William Strunk and E.B. White, in The Elements of Style, say: ‘Write with nouns and verbs, not with adjectives and adverbs.’  Scrutinise every adjective in your writing and consider how it earns its place. If you can do without it, delete it. For example, if you’re describing a lawn, only use the word ‘green’ if that’s out of the ordinary. Or find a stronger noun that doesn’t need an adjective at all – for example ‘light rain’ could be replaced with ‘drizzle.’ And try to avoid using two adjectives if one will do, as increasing the number of adjectives before a noun severely reduces its clout and makes your prose even more purple. The same goes for adverbs. Does the drunk person ‘walk erratically’ or do they ‘stagger’? Pro tip: Use your thesaurus with caution. It will throw up all sorts of unnecessary distractions your story doesn’t need. Only use a thesaurus to help you recall known words. Good writers use adjectives and adverbs sparingly. Cut them with care and decide if your sentences seem less purple as a result. 2. Excessive Sentence Length Every definition of purple prose highlights the excessive use of long, winding and overly dramatic sentences. By the time your reader has reached the end, they won’t remember where they began. The following example is by Victorian writer, Jerome K. Jerome in his book, Three Men in a Boat. He was writing at a time when authors were paid by the word, so perhaps we can forgive him for this lyrical, but rather convoluted and distinctly purple sentence. ‘The river—with the sunlight flashing from its dancing wavelets, gilding gold the grey-green beech-trunks, glinting through the dark, cool wood paths, chasing shadows o\'er the shallows, flinging diamonds from the mill-wheels, throwing kisses to the lilies, wantoning with the weirs\' white waters, silvering moss-grown walls and bridges, brightening every tiny townlet, making sweet each lane and meadow, lying tangled in the rushes, peeping, laughing, from each inlet, gleaming gay on many a far sail, making soft the air with glory—is a golden fairy stream.’ Did reading that make you a little breathless? Be kind to your reader and keep an eye out for overly long sentences. Limit the number of clauses and play with length, mixing up shorter and longer sentences to give your writing a sense of rhythm.  3. Excessive Emotion Some authors unwittingly make their prose purple by sledge-hammering emotions onto the page, especially when describing a visceral reaction to a situation. Trust your reader to get it without telling them twenty times in twenty different ways. Of course, much depends on the genre of your writing. Romantic fiction readers will be more tolerant of a little emotional embellishment than steely-eyed crime fiction fans.  As you write or edit, think about whether the magnitude of the reaction matches the event. Will your main character’s breast heave that violently at the sight of her love interest? Or will Philip’s teeth really gnash and his brow drip with sweat on hearing that Sally has been promoted ahead of him?  Think of other ways to create authentic tension without resorting to purple prose. If you’re unsure how to go about this, identify the essence of your scene; what really matters? Make it exciting in its own right and don’t rely on flowery language to jazz it up. The story, not the distracting writing, should be the thing that grabs the reader’s attention. And if you’ve forgotten what’s going on, then so will your reader! 4. Generic Or Clichéd Images A reliance on clichés is considered the number one crime in creative writing, and for good reason. Clichés are lazy shortcuts to expressing an emotion or situation, suggesting the writer hasn’t been able to think up their own words. They’re old and boring and offer nothing to surprise or shock your reader. Examples of purple prose across the internet cite the deployment of clichés as a key feature. Every first draft will have the odd cliché skulking in its shadows, but if you spot one, get rid of it. And then say what you’re trying to say in your own words. Clichés will only hint at your inexperience, so be brutal and delete those tired old phrases without mercy.  If you’re struggling to spot clichés in your writing, ask a friend or beta reader to read it through or consider signing up for one of our tutored courses to help you identify problem areas such as this. 5. Lack Of Clarity All of the above conspire to create writing that lacks clarity. Imagine for a moment you’re the reader of your book. You’re walking through a forest, surrounded by new and exciting sights, but as you progress, the path turns to mud. It sucks at your boots, slowing your pace. Brambles run their thorns along your bare arms and mosquitos nip at your cheeks. The birds screech, laughing at your sluggish progress. You’re desperate now to get to your destination, but come upon a patch of tall nettles. You beat your way through, your shins stinging …  I’m getting a little carried away here, but do you get my point? When a piece of prose becomes too purple, the overly-ornate text becomes an impediment to the reader’s progress and they’ll simply turn back and go home, or put your book down. As an author, it’s your job to take your reader by the hand and guide your reader to the end of the story without unnecessary hurdles to impede their progress. The following extract from Sean Penn’s debut novel, Bob Honey, is a perfect example of an author’s purple prose affecting clarity. Even though the book is a satire, the text is as impenetrable as my imaginary forest. “There is pride to be had where the prejudicial is practiced with precision in the trenchant triage of tactile terminations. This came to him via the crucible-forged fact that all humans are themselves animal, and that rifle-ready human hunters of alternately-species prey should best beware the raging ricochet that soon will come their way.” I think Mr Penn is trying to say something about hunting animals, but I really can’t be sure. So, how do you make sure your writing never lacks clarity?  Leave plenty of time between writing and editing so you can read your work with fresh eyes. Does it make sense? Do you understand what you’re writing about after time away from it? Is anything confusing? Think how you could make it clearer using the advice listed above. If you’re still not sure, ask a beta reader to help, or consider using our editorial services. It takes skill and experience to write with clarity, so remember, as you write, focus on your story, and keep your reader in mind. Do you really want them to battle their way through that forest, arriving battered and bruised at their destination, or would you rather they enjoyed the journey? How To Write Tight, Effective Prose Even if your writing isn’t that purple, or only purple in patches, thinking about the above will help your writing become tighter and more effective. Keep your reader in mind as you write. Ensure every word, sentence, paragraph and scene drives the story on. Pro tip: Take a narrow-eyed look at your dialogue tags too. Keep them simple, so if possible, use ‘said’. Nothing makes a reader cringe more than a character ‘blustering’ or ‘interjecting’. While you’re busy trimming your work, keep an eye out for modifiers too, like the word ‘very’. Find a better, stronger word, and your writing will be less purple because of it.  Professional, publication-ready writing is lean. The author has taken the time to cut unnecessary adjectives, adverbs and dialogue tags. Only the essence of the story remains, making the text easier to read because not one word is wasted.  Read more tips on writing perfect prose here. A Final Thought On Purple Prose Writing purple prose is a part of the writing journey, and we should never be ashamed to spot it in our work. But we need to learn to recognise it when we see it, and be brave enough to get rid of it. Experienced writers have learnt that the big idea is what makes something meaningful, not the language used to embellish it. The idea should always come first. Don’t try to be Daphne du Maurier. Be you. Play with language until you find your voice and then pare your writing right back until it gleams. Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community. 

How To Eliminate Passive Voice From Your Writing

You may have heard the term ‘passive voice’ or even been told not to use it, but why is the passive voice a bad idea and how do you fix it? In this article, you will learn the difference between active and passive voice, how to spot passive voice misuse (and how to fix it), and learn what to do if passive voice becomes a smoke-screen for other issues. At the end, there will also be a checklist to apply when editing your manuscript.  What Is Passive Voice? Most people find it easier to spot the use of the passive voice in single examples and trickier when editing a whole manuscript; also, these things are about balance. It isn’t necessary to eliminate absolutely every example of the passive voice from your writing because there are some modes of writing that require it – more on that in a minute.  With these things in mind, let’s look at a simple example of passive voice. Take a look at these two versions of the same sentence. The first is written in an active voice, the second in a passive voice: Steve stole the sweets from the shop.The sweets were stolen from the shop by Steve. Now try this exercise. Which aspects of the first sentence could I remove and have it still make sense? Yes, I could substitute different words until I had a new sentence: Betty ate the ice cream at the skatepark, for instance, but that’s not what I mean. Which phrase could I take off the original sentence, while still communicating the same information, albeit in less detail? Hopefully, you’ll agree that I could remove ‘from the shop’ but nothing else, otherwise I won’t have a sentence anymore. ‘Steve stole the sweets’ still makes sense. What about the second sentence? How much can I cut and still end up with a sentence? I can take away much more this time. I could go for ‘The sweets were stolen from the shop’ or simply ‘The sweets were stolen.’ Look at my new sentences: Steve stole the sweets.The sweets were stolen. What’s wrong with the second sentence? Identify that, and you’ll get to the nub of the issue: why the passive voice comes with an advisory warning. Can you see the problem? What Is Passive Voice Misuse?  The character or ‘person who acts’ – the subject – is missing from the second sentence. We no longer know who is responsible for stealing the sweets, the object of the sentence. Blame has been removed, or rather, as this is a post on the passive voice, I removed blame from sentence two.  This explains why passive voice isn’t simply a grammar problem you can solve by looking it up on Grammarly or another grammar-correction tool. The ‘why’ – and in writing (as in life) it’s always good to look for the ‘why’ – is that when we use the passive voice, the acting subject is often missing. If you’re telling a story, your readers want to know about the acting subject, so they can stand in their shoes and see the world through their eyes. They can’t do that if the character is no longer the subject of the action. Passive voice misuse is often unintentional and sometimes a hidden problem. Ever wondered why your reading group say they can’t connect with your characters? Perhaps passive voice is to blame. So how do you edit your work to avoid passive voice? Place the acting subject at the beginning of the sentence or clause. In the case of our two examples, the sentence with Steve at the beginning works best. If you’re editing a sentence without an acting subject, like ‘the sweets were stolen’, then introduce one. By the way, if you don’t want your readers to know who stole the sweets, you’ll need to create a different action – “Sarah discovered her sweets were missing,” for example.  Let’s look at another reason for avoiding the passive voice. Both the example sentences lack detail, and both sentences are examples of ‘summary narration’, which is the opposite of ‘show don\'t tell’, but – crucially – at least sentence one contains within it the possibility of ‘show not tell’. It’s much easier to edit ‘Steve stole the sweets’ than ‘the sweets were stolen’. I could change sentence one to ‘after sunset, Steve crept towards the sweetshop, carrying his torch,’ for example, or for my North American readers: ‘after sundown, Steve crept towards the candy store carrying his flashlight.’  But how would you instil some ‘show not tell’ into sentence two? ‘The sweets in the shop were crept towards after sunset’? That sentence feels all wrong. One way to tell that a sentence contains the passive voice when it shouldn’t is that it will be hard to turn it from summary narration into step-by-step ‘showing’. You might also have the reverse problem: you might be finding it hard to incorporate more showing and less telling because you’ve used the passive voice. If so, decide who is acting in any given section of your story, and place him or her centre stage.   I’ve mentioned that using the active voice matters when you’re telling a story, so novelists and short story writers in particular need to look out for it. But editing for active voice can also be useful in nonfiction and poetry.  Let’s look at nonfiction first.  You may have noticed that I’ve occasionally used the passive voice in this article, and other times I’ve put the acting subject (you, we or I) at the beginning of the sentence. If you’re writing something instructional (a recipe, a ‘how to’ book, this blog post) then you are likely to have to use the passive voice occasionally. But any time you tell a story in nonfiction – whether that’s a book-length project or a feature article – edit for the passive voice. The same rules apply. In poetry, if you’ve included a speaker who’s present during the poem, then look out for the passive voice. It’s hard to change the active, ‘I wandered lonely as a cloud’ into the passive voice but imagine reading ‘lonely wandering like a cloud’ or ‘the hills and dales were wandered over’ instead. Arguably, it’s the ‘I’, or the active subject at the beginning of the first line of Wordsworth’s famous poem, that makes the line powerful. With the lyrical ‘I’ missing, it falls flat. If you are editing a poem right now, and you’re stumped, try adding a lyrical ‘I’ as an experiment (you can blame me if it goes wrong). Put the speaker at the start of at least a couple of lines, like Wordsworth does, and see what happens. Not all poetry needs a lyrical ‘I’, of course, but it’s a fun writing technique to try if you get stuck.  When Is It OK To Use Passive Voice? When adopting an objective tone is important (ie a science report or legal document)When you don’t want the subject of the sentence to influence the messageWhen you want to take yourself or the subject out of the equation and make the object the focus, such as when reprimanding someone. For example: ‘The shoes were on the table’ is less accusatory than ‘You left your shoes on the table.’ Changing Passive Voice To Active Voice Did you learn to write up science experiments at school like this?The magnesium was placed in the test tube. The hydrochloric acid was added using a pipette. A lit paper tab was used to ignite the oxygen. The results were observed and recorded, as follows. Sometimes it’s hard to unlearn the way you were taught to write at school. The following passage describes the same thing, but this time I’ve used the active voice, and I’ve fictionalised: Mr Burns was on fire today, literally. He got us to gather round at the front of the classroom and he poured this stuff – mag something – into a little bottle then he got another bottle out and told us never ever to touch it because it can make your whole mouth fall off and your hair fall out or something and he mixed the two together and there was a brilliant white flame and an explosion and the next thing I remember is the sleeves of Mr Burns’ white coat being on fire, and Maize had aimed a fire extinguisher at him. What’s the difference between the two? One is written in passive voice, appropriately for a science report, and one is written in the active voice, again appropriately for children’s fiction. But that’s not the only difference. The tone and the voice are different too. Stop for a moment and consider the following before using passive voice: What genre are you writing in?PacingPoint of viewTarget readership How To Recognise And Eliminate Passive Voice  Changing from a passive to an active voice often means simply moving the acting subject to the beginning of a sentence. In the example I gave earlier, Steve was the subject and the sweets he stole were the object. The shop was contextual information.  But What If Passive Voice Itself Isn’t Your Biggest Issue?  A mistake I see some beginning fiction writers make is this: they’ll skip over the emotionally hard parts of a scene or avoid writing a difficult scene in its entirety, rather than using step-by-step narration, probably because it’s too painful to write. Sometimes they’ll make it seem impossible to turn these scenes into step-by-step narration because they’ve used the passive voice.  Here\'s an example I made up: The diary she had discovered in the attic turned out to be her mother’s and was duly searched for information that might lead to the solution of the case, but no information was forthcoming. Mavis found it made her feel very tired and weepy and, walking a stretch of the coastal path the next day, many memories flooded back to her.  Let’s imagine this was written by a would-be novelist who thinks they have a problem with the passive voice. Although sorting out the passive voice in this paragraph would help, the writer’s ‘real’ problem is that they’ve tried to skip the emotional aspects of the scene, discovering the diary in the attic, by summarising them instead. We could refer to this problem as skip-itis; the desire to skip a difficult or emotionally charged scene.  If the use of the passive voice is simply a way of summarising the information, it’s not the main problem. You’ll notice that this paragraph also lacks detail and contains little or no characterisation. If this writer described climbing up into the attic to find the old diary step-by-step, using detail and an extra 500 words or more, while focusing on the character, it would be almost impossible to use the passive voice.   The good news is that, as far as my made up would-be novelist is concerned, this example paragraph acts as a mini plan for the scene they\'re going to write Here are some tips to help you to solve this problem: Give yourself enough time to write the emotional or difficult scene.Build in extra breaks – don’t go straight from writing this scene to another task, even if you can only manage a five-minute walk or a cup of tea. Make a start. Begin with something easy, like a main character performing a simple action. In my example, this writer could have said: Mavis climbed the ladder into the attic. Put the character at the beginning of most of your sentences in the first draft.If in doubt, have your character perform an action or series of actions before you summarise or use dialogue or internal monologue. That’s because summary, dialogue and internal monologue (along with passive voice) can all be symptoms of skip-itis. Remember first drafts are meant to be rubbish. They get better every time you redraft. Don’t try to make the scene ‘good’, simply try to get your character from the beginning of the scene to the end.  Passive voice usually takes more words than active voice, so if you get a sense that you’re beating about the bush and taking longer to express an idea than you need to, see if passive voice is to blame.  Using the active voice clarifies the idea you’re trying to express, meaning you get to the point quicker and you can cut extra phrases along the way. If you’re unsure about what you’re trying to say in your writing, or lack confidence, you may have (subconsciously) added padding, extra words that hide the central idea. Changing from the passive to the active voice can be like shining a light on these wordy ‘padded’ sentences.  A Passive Voice Editing Checklist Here’s a handy checklist to use when editing your creative writing and checking for passive voice: Have you used step-by-step narration when it’s needed? Is the action unfolding in front of us?Have you placed the acting subject (probably one of your main characters) at the start of your sentences or clauses, on the whole? Have you made them important by placing them centre stage?Have you skipped any of the emotionally difficult scenes by summarising? Could you make an idea clearer or use fewer words by switching to the active voice?  Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community. 

What are Literary Devices?

What are Literary Devices? We writers are always looking for ways to strengthen our storytelling. One of the most impactful techniques to do this is using literary devices, which are effective techniques used to hint at different ideas, themes and meanings in a story. Literary devices are used across different genres, and each one serves a specific purpose. They are tools that will take your writing to the next level – making it more impactful and engaging for your readers, hooking them in from the first page until the last. In this guide, we\'ll examine the definitions of literary devices and examples of different literary devices. It\'ll be everything you need to know to maximise the effect of literary devices and use them to strengthen your storytelling.  Understanding Literary Devices A literary device is a technique that writers use to express their ideas and hint at larger themes and meanings in a story. These devices are excellent ways to enhance writing, strengthen the narrative and engage readers, helping them to connect to the characters\' themes.  There are many different styles of literary devices, and most are used in tandem; some are used at sentence level, looking at flow and pacing, while others are a broader approach, serving the story as a whole. Understanding different literary devices and maximising their impact can significantly improve your writing and a reader\'s experience.  Let’s take a look at popular literary devices in more detail and see if there are any you recognise… List of Literary Devices Allegory An allegory is a literary device that uses plot and characters to express and explore abstract and complex ideas. This might be used to present issues in a way that is understandable and approachable for the reader. We see many allegories in fairy tales and Biblical stories.  A literary device similar to this is \'anthropomorphism\' – a type of personification that gives human characteristics to either objects or non-humans, such as animals.  George Orwell\'s Animal Farm is one of the most famous allegorical novels (and is also an example of anthropomorphism in literature). Using animals to represent different political beliefs and the rise of communism, it’s a multi-layered commentary with a strong message beneath the story\'s surface. Alliteration Alliteration is a literary device that is a collection of words or phrases that reflect repetition, and all begin with the same sound. It gives more stress to the consonants and creates something memorable in your writing, particularly when choosing the title of your book. For example, Jane Austen\'s use of alliteration in her book titles, Pride and Prejudice and Sense and Sensibility, made them memorable at the time and classics today. Allusion An allusion is a literary device (not to be confused with \'illusion\') that references something in the real world, whether a person, a place or an event. This device can connect with your readers and paint an accurate picture of a situation. An allusion example is referring to someone as ‘a total Scrooge’. This reference (thanks to Dickens famous work) would immediately paint an accurate picture in a reader\'s mind without elaborating further. They would know this person is tight with money and is miserable and grumpy.  Anachronism An anachronism is a literary device that can portray an intentional error in the era of a story. This device can be used to comment on a theme or even for comedic effect. For example, a character appearing in a different time period, using speech from a different era, or technology appearing before its invention. William Shakespeare used anachronisms in his writing, like the dollar currency in Macbeth and the clock in Julius Caesar (mechanical clocks were not invented in 44 AD). Anaphora Anaphora is a literary device used to emphasise a phrase or words to reinforce meaning and feelings for the reader. This is when a word or phrase is repeated, typically at the beginning of successive sentences or phrases.  The perfect anaphora can be found in the novel The Help by Kathryn Stockett - \"You is kind. You is smart. You is important.\" This quote reinforces the relationship between the two characters. A famous example in speech is Winston Churchill\'s ‘We Shall Fight on the Beaches.’ He rallied the troops and the British people in this speech, and throughout it, repeated the phrase \"we shall fight\" – invoking strong responses and stirring emotions.  Anthropomorphism We touched on anthropomorphism earlier when we discussed an allegory. To anthropomorphise is to ascribe human traits, emotions or behaviours to non-human beings, like objects, animals or phenomena. This literary device differs from personification, which creates imagery, as anthropomorphism is literal. For example, Cogsworth the clock and Lumière the candlestick in Disney\'s Beauty and the Beast are household objects that act and behave like humans. And Pinocchio was anthropomorphised when he gained the ability to talk, walk, think, and feel like a real boy. Archetype An archetype is a literary device that brings familiarity to a story – it\'s typically a \"universal symbol\" with qualities or traits that readers can easily identify. This literary device is used to reveal characters, images or themes that are instantly recognisable to any audience. The literary Hero Archetype, for example, is typically noble, courageous, self-sacrificing and will right wrongs and fight injustice. Cliffhanger A cliffhanger is a classic literary device used as an effective way to keep your reader\'s attention – such as the revelation of who Luke\'s father is in The Empire Strikes Back. It marks the end of a part of the story (the end of a chapter or TV episode), but with the purpose of keeping an audience engaged. A common way to do this is through shock factor, an abrupt ending offering no obvious resolution (until the person turns the page, buys the next book, or watches the next episode).  Colloquialism Colloquialism uses informal language and slang, and when used as a literary device, it can build a character\'s personality and authenticity through their dialogue. A colloquialism is a word or expression common within a specific language, geographic region, or historical era. Therefore, it can also indicate the setting of a story in the context of time and place. The language Holden Caulfield uses in Salinger’s The Catcher in the Rye is a great example of colloquialism.  Dramatic irony Dramatic irony is a literary device used to create situations where the audience knows more than the characters. Therefore, the actions of the characters have a different meaning for the audience. Typically, this device often lends itself to tragedy, as demonstrated in Shakespeare\'s Romeo and Juliet, when the audience knows that the lovers are both alive but the characters think the other is dead.  Dramatic irony is not to be confused with situational irony (when readers expect a certain outcome and are surprised by an unexpected turn of events) and verbal irony (when the intended meaning of a statement is the opposite of what was said). Exposition Exposition is a crucial literary device – it is when the narrative provides background information about events, settings, characters or any other relevant element to help the reader understand what\'s going on. It is typically used in conjunction with dialogue and description, offering a richer understanding of the story.  Exposition is presented through many methods, including dialogue, a protagonist\'s thoughts, a narrator\'s explanation or in-universe media, such as letters and newspapers. For example, in the Star Wars movies, the opening title sequence gives the audience the information they need to understand the upcoming events in the film: \"A long time ago in a galaxy far, far away….\" Beware, though, that too much exposition runs the risk of undercutting the emotional impact of a story. As we all know, ‘show’ don’t ‘tell’ where possible. Flashback A flashback is a literary device used to split up the current scenes in a story and look back to something that has happened in the past. It is typically used to build suspense. Flashbacks can also present exposition (revealing information or context about something that\'s happened in the past). Examples of flashbacks include memories and dream sequences. In Gone Girl by Gillian Flynn, the alternate chapters in the first part of the book are flashbacks through the medium of diary entries.  Foreshadowing Foreshadowing is a literary device that can create and build suspense by indicating or hinting to readers that something will happen later in a story. It creates dramatic tension and can often be used in conjunction with flashbacks. However, the difference between the two is that a flashback directly offers readers exposition or background information. In contrast, foreshadowing is a little more subtle and gives just a hint or a sense of what is to come. The symbolism of Harry Potter\'s scar is an excellent example of foreshadowing.  Frame story A frame story is when the main or supporting character tells part of the story or narrative. The frame story essentially \"frames\" another part of it. This device supports the rest of the plot – it is typically used at the beginning or the end of a story, or in small interludes in-between. The movie Titanic is a great example of this. The main plot is set in 1912, but Rose frames the narrative when she looks back over what happened and tells a story within a story.  Humour Humour is a literary device to make readers laugh or keep them amused. It can be difficult to do, as it relies on instinct, making it harder to teach or learn. But there are different techniques, tools and words that can bring funny situations to life and achieve the goal of making an audience happy. Different types of humour include slapstick, surprise, sarcasm and hyperbole, among many others. Humour isn\'t only present in contemporary writing, as Jane Austen used humour throughout Pride and Prejudice, especially in conveying the relationship between Mr and Mrs Bennet.  Imagery Imagery is a literary device that evokes a sensory experience for the reader by using highly descriptive language. Strong imagery will paint a picture by following the rules of \'show, don\'t tell.\' It means playing to the reader\'s senses by describing sights, tastes, sounds, smells and feelings to bring a scene, character or situation to life. An example of this in Shakespeare\'s work is in The Taming of the Shrew: \"If I be waspish, best beware my sting.\" In Medias Res In Media Res is a literary device used when a narrative begins without exposition or contextual information. It is a Latin term that means \"in the midst of things\". Therefore, the story launches straight into a scene or in the middle of an already unfolding action, creating suspense and tension immediately. Odyssey by Homer is a famous example of this. Irony Verbal irony is when the intended meaning of a statement is the opposite of what was said. It is not to be confused with situational irony; a literary device used when readers expect a certain outcome and are surprised by an unexpected turn of events. There is also dramatic irony, a literary device used to create situations where the audience knows more than the characters. An example of irony in a plot is demonstrated in The Wonderful Wizard of Oz, when the characters already have what they are asking for from the wizard. Juxtaposition Juxtaposition is a literary device used to place different themes, characters, or concepts and highlight their differences. Instead of being overtly comparative, juxtaposition is an implied comparison, allowing the reader to discern how both entities are different. Juxtaposition can take many forms, such as human instinct and animal instinct in Life of Pi, and kindness and selfishness in Cinderella. Motif A motif is a repeated element, whether it takes the form of an image, idea, sound or word that has symbolic significance in a story. The defining aspect of this literary device is that it repeats frequently. Through repetition, the motif helps develop the narrative\'s theme and illuminates the central ideas, theme or deeper meaning of the story. Motifs are not to be confused with symbols, which may appear once or twice and help understand an idea in the narrative. An example of a motif is in the Godfather series, through the repetition of oranges featured on screen before a character dies. Another example is in Tolstoy\'s Anna Karenina – trains are a repetitive motif that ultimately symbolises death and destruction. Onomatopoeia Onomatopoeia refers to words that imitate the sound of what they\'re referring to. It can be used as a literary device to make descriptions more expressive and, therefore, more effective. For example, words such as buzz, snap and grunt are frequently used in children\'s books to add action and emotion to a story.  Oxymoron An oxymoron is a figure of speech that pairs two words together that are either opposing or contradictory. It can be used as a literary device to allow writers to take a creative approach and play with the use and meaning of words. As a result, it can create an impression and entertain the reader. An oxymoron is about words, not to be confused with juxtaposition, which contrasts two opposing story elements. An example of an oxymoron is in Shakespeare\'s Romeo and Juliet: \"Parting is such sweet sorrow.\" Paradox A paradox is typically a statement that might appear contradictory at first but makes sense after reflection. It\'s a literary device that asks people to think outside the box by questioning the logic and provoking readers to think critically. A paradox can also elicit humour and illustrate themes, such as in Scarface: \"Me, I always tell the truth. Even when I lie.\"  Personification Personification means assigning human traits to describe non-human entities or inanimate objects to express something creatively and imaginatively. It is not to be confused with anthropomorphism, which actually applies these traits to non-human things – whereas personification means the behaviour of the object or entity does not change – it\'s personified in figurative language only. This literary device might be used to create life and explore abstract ideas and themes within inanimate objects and animals by applying human behaviours and emotions. For example, Shirley Jackson\'s The Haunting of Hill House turns the house into a living entity through personification.  Point of view Point of view is a vital literary device, as it\'s the angle of perspective in the narration of a story. It\'s a crucial decision because each point of view will have a different impact on the story and the reader\'s experience. The point of view effectively governs the audience\'s access and determines how much they will know as the story develops.  The most common points of view in literature are the first and third person. Both have their advantages and disadvantages. The first-person narrative (using pronouns I/we) allows the writer to connect with the reader, as this perspective means the reader has access to the narrator\'s inner thoughts and feelings.  An example of a first-person point of view is To Kill a Mockingbird by Harper Lee, when the story is told by Scout. From a storytelling perspective, the third person narrative (using pronouns she/he/they) is flexible because it allows you to write from multiple characters\' perspectives and show their actions and thoughts. An example of the third-person (omniscient) point of view is Middlemarch by George Eliot. The second person point of view is less common, as it uses the pronoun \"you\" to bring the reader into the story, for example, The Night Circus by Erin Morgenstern. Repetition Repetition means intentionally repeating a word or phrase two or more times. While you don\'t want to overdo it, occasional repetition can be an excellent tool to bring clarity to an idea, make something memorable for a reader, drill home a point or create an atmosphere. The best example of this is in horror stories, as horror writers use repetition as a literary device to make readers feel trapped. For example, in The Shining, Jack repeatedly types out \"All work and no play makes Jack a dull boy.\" This reveals Jack\'s downward spiral as cabin fever takes over. It is not to be confused with anaphora, which is specific in its intent to repeat, and the repetition is typically at the beginning of consecutive sentences, phrases, or clauses.  Satire Satire is a literary device used to make fun of human nature or society to expose or correct it. It is typically done through exaggeration, amusement, contempt, ridicule or irony, usually with the hope of creating awareness and subsequent social change. Satire can be overt or subtle but is common throughout history and popular culture. Examples of this in film and T.V. include Deadpool (satirises the superhero genre), Shrek (satirises fairy tales) and Family Guy (satirises American middle-class society and conventions). Situational irony Situational irony is a literary device used when readers expect a certain outcome and are surprised by an unexpected turn of events. This is not to be confused with verbal irony or dramatic irony, which we already covered. An example of situational irony in a plot is demonstrated in the T.V. programme Schitt\'s Creek when a wealthy family is catapulted into a less privileged life.  Soliloquy A soliloquy is typically a speech or monologue involving a character speaking their thoughts out loud and usually at length. These are frequently in theatrical plays. The purpose of this as a literary device is for the character to reflect independently – they\'re not speaking for the benefit of other people. It\'s an effective device because it offers insight into a character\'s internal thoughts, reflections and emotions. Shakespeare\'s Hamlet\'s \"to be or not to be\" speech is a classic example of a soliloquy.  Suspense Suspense is a vital tool that writers use to keep their readers interested throughout the story. There are many ways to use suspense as a literary device. For example, raising questions and withholding information. The purpose of suspense is to create a feeling of anticipation that something exciting, risky or even dangerous will happen. It helps readers to engage with characters and evokes emotions, such as sympathy, towards them.  In Gillian Flynn\'s Sharp Objects, the dark atmosphere creates questions about what is happening in her hometown and how the complex protagonist will deal with it when she\'s already struggling with complex personal issues. Symbolism Symbolism means using symbols – a word, object, character, action or concept – in a story. These symbols can represent abstract concepts and ideas beyond the literal meaning and evoke additional meaning and significance. This is not to be confused with a motif, which is an element that\'s repeated frequently to develop the narrative and illuminate the central themes or ideas in a story. An example of symbolism would be The Great Gatsby, when Fitzgerald uses the eyes of Doctor T.J. Eckleburg to represent God and his judgment of the Jazz Age. Tone The tone of a story is crucial for any writer, as it refers to the overall mood and message of the story. Tone is a literary device that sets readers\' feelings and can be established broadly through voice, themes, characterisation and symbolism. The techniques can be even more specific through word choice, punctuation and sentence structure. Tone can range from cheerful and humourous, to melancholic and regretful. Through tone, the writer essentially creates a relationship with the reader, which influences the intention and meaning of the words. This is why tone is so important. For example, the tone of Charles Dickens\' A Tale of Two Cities demonstrates that the story is serious due to the formal, rich language he used. Tragicomedy A tragicomedy is a blend of both tragedy and comedy that typically helps a reader process darker themes by adding humour and helping them laugh at a situation, even when the circumstances are bleak. When using this literary device, the characters are typically exaggerated, with jokes throughout the story, and sometimes there might be a happy ending. An example of this is Lemony Snicket\'s A Series of Unfortunate Events, which uses bizarre situations and over-the-top characters to provide light in an otherwise tragic story. Make your Story Stronger Strengthening our storytelling abilities is something we writers are always working on (our blog is an excellent resource for this) and a good grasp of the most effective literary devices is certainly beneficial for authors. Literary devices are tools that will take your writing to the next level – making it more impactful and engaging for your readers, hooking them in from the first page until the last. This is exactly what we want to do when telling a story, so these techniques are worth bearing in mind when writing.  Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community. 

What Is A Prologue And How Do You Write One?

What Is A Prologue And How Do You Write One? Most writers know that the opening of a book is all-important in terms of grabbing the attention of busy agents and editors. Many of us also know from our own experience browsing online that a striking beginning might make a difference between buying a book or not. Hence if how you start your plot can change your literary fortune, prologues can offer a fresh way to launch a narrative.  In this piece, we’ll look at what prologues are, a little bit of their history and their main types and purposes. What is a Prologue? What does ‘prologue’ mean?  Prologues originate in Greek drama, coming from the term prologos, ‘before word’. Ancient dramatists used them as devices to introduce the play to come and you can see the influence of this in later Shakespearean works, such as Romeo and Juliet, where the Bard uses a prologue to set the scene for  the star-crossed lovers. Another famous prologue is that of Chaucer’s Canterbury Tales, which was written in the Medieval period and introduces his cast of characters and the context of the pilgrimage. As you can see, prologues are used at the start of a work to bring the audience into a piece, but, as you’ll see below, in fiction writing, there are particular types of prologue which you might use to make your book opening more compelling.  Purpose of a Prologue As we’ve seen above, in plays, prologues literally set the stage for the action to come, bringing us into the world of the drama in a succinct way. However, prologues are not always necessary in novels and, indeed, they are a source of debate in writing circles as they can tempt writers to add too much ‘backstory’ about their characters and the setting in one go, before the main plot begins in Chapter One, leading to an overload of information which can be off-putting.  Prologues can also easily be too long, meaning the ‘real’ beginning of the story is delayed. Make sure you don’t make your prologue longer than your standard chapter and possibly consider making it even shorter to add real punch. You need to lay the foundations for the plot to come, but without being long-winded. Another difficulty is that prologues often don’t contain the lead character, unless in a mysterious and often unnamed way, so you’ve got to be careful about being too ‘on the nose’ as this device can be a way to generate real tension and excitement about your story. As you can see then, prologues come with various pitfalls, so they can be a challenge to pull off well. We’ll look at some of the reasons why you might use a prologue below, but just remember that not every plot needs a prologue, so don’t feel your work isn’t solid without one. Differences Between Prologue, Preface, Foreword And Introduction If we’re new to writing, it can be hard to tell the difference between prologues, prefaces, forewords and introductions and to understand exactly what is a prologue in a book. A preface is usually a short account by an author, explaining the origins of their book, with a foreword often offering an introduction to the text and its author by another person, usually a writer or authority in the same field.  An introduction, on the other hand, is a summary chapter, outlining the argument and contents to come, which is used primarily in non-fiction. Indeed, most fiction doesn’t have a preface or foreword on the whole, so it’s not something the majority of writers need to worry about.  Prologues are primarily the preserve of novelists then (as well as some playwrights), being a part of the narrative itself, rather than material which precedes it.  Types Of Prologues Considering the various functions prologues can perform is perhaps one of the most important things if you’re going to include one in your novel.  Many writing experts say there are four main types of prologue, involving a future protagonist, past protagonist, a different point of view and one which presents background. Future Protagonist This sort of prologue shows us the future self of the lead character – perhaps including their death – in order to set in motion the story of how they reached that point. It is written in the same point of view and style as the rest of the novel, but if you’re using the third person, the prologue often presents the end of the story first, with the journey towards that point beginning in the first chapter.  If you’re using a first person voice, the prologue might show the lead writing a letter or memoir, stating why they needed to tell this story, and the tone is often reflective. In this sort of prologue, an older character often is introduced, presenting the overall plot as a walk down memory lane. Past Protagonist Sometimes there’s a juicy event in your protagonist’s life which the reader needs to know to understand them fully. Often, it’s a tragic event, such as a loss or trauma, which might not be given its due in the course of a flashback, but which has set up the wounded detective lead, say, to have a passion for justice.  This sort of prologue allows us a look into the past then to let us see what makes the lead tick, bringing to life a powerful event which will draw the reader in and making us sympathise with the protagonist deeply right from the get-go and, luckily, it’s effective when written in the first or third person point of view. Different Point Of View Prologue Sometimes, it’s useful to bring in a different narrative perspective in a prologue than the viewpoints presented in the main plot. It can be particularly useful in order to add mystery to the coming story, perhaps, say, by showing a murder in the viewpoint of the unknown killer before the main plot shows the hunt for this villain. You can also use this sort of prologue to create dramatic irony, so the reader sees some event coming down the pipe – probably something which threatens them in some way – whilst the lead remains unaware. In women’s commercial fiction, for example, we might be presented with a cheating husband, while the protagonist wife goes on oblivious – until reality hits later in the book at some point. This sort of prologue is often useful in historical or adventure fiction with, say, an artefact being used or hidden in the past, which the lead only discovers later on, as this brings the world of the book into focus, as well as establishing the compelling question about what this thing is and why it’s important. However, it’s crucial that this sort of prologue is written in the third person, even if the main part of the novel is in the first person, to make it stand out from the rest of the narrative. Background Prologue If the world of your novel is very different than our own, such as if you’re writing science fiction or fantasy, this sort of prologue can be used to establish your unique setting and its rules in detail, so we understand the main action better. However, this is tricky to pull off as you don’t want to throw your reader into your alien world, say, unprepared, but you also don’t want the book’s opening to become an overwhelming info dump either. Focus then on creating a simple plot which illuminates how your particular world works – preferably one which links to the main narrative. Sometimes, however, the prologue might could take the form of a document which sets out the strange wonders of the world we’re entering and this form of opening offers a lot of opportunities to use your imagination, but, again, it’s a matter or balance as you also don’t want to make the beginning too obscure. Again, it’s good to narrate this sort of prologue in the third person, even if the main plot is told through the first. How to Write a Great Prologue So, does a book need a prologue? As I discussed above, many novels don’t require one at all, so it might not be necessary for you to learn the skills set out here in order to create a killer plot opening. However, as you can see, prologues can perform some very useful functions in terms of opening a plot with power and they can be particularly helpful when writing certain genres of fiction, so you might want to consider including one in your novel.  We all know how crucial a striking and stylish opening is, so bear this in mind when writing your prologue – this will be the first thing agents, editors and the general reader sees of your book, so you must make it compelling.  If you’re wondering how to write a prologue, it’s key that you grab your audience’s attention from the first line and keep it. The prologue needs to be essential reading for the rest of the book, so make sure it’s both relevant to the main plot and dramatic.  Immediately Engage The Reader In order to make your prologue stand out, it’s a good idea to take a powerful event and milk it for all its worth. You must also ensure you’re engaging the reader all the way through and not getting lost in backstory or obscure details.  You want the prologue to keep the reader turning pages right into the main narrative, so keep it peppy, no matter what genre you’re writing in. You might not need a car crash or explosion in literary fiction, but even emotional crises can stir emotions enough to lure the reader in. Provide Essential Information As I said before, prologues can help with world-building for fantasy, sci-fi and historical fiction writers, allowing the reader to become aware of the specific context of the coming story. Indeed, prologues can also provide relevant information about past events which have impacted the lead or show scenes, such as a murder, which set up the ensuing narrative.  In many ways then, prologues can give the reader relevant information for the literary journey to come and can be extremely useful devices. However, as I’ve also stressed, it can be difficult to not overload the reader with information. Add details gradually, like a breadcrumb trail through the forest, knowing you have the whole book to establish your characters and setting and remembering that an air of mystery and unanswered questions can be very alluring. Make sure the reader has the necessary information, but no more.  Use a Consistent Tone and Style It’s important to remember that, whilst the prologue might well be in a different point of view from the main text or come from the viewpoint of a character whose perspective does not appear in the later narrative, the prologue’s style always needs to fit with that of the main narrative. What you don’t want is for your prologue to seem inconsistent with the rest of the book. Yes, you want the prologue to stand out, but if your prologue doesn’t sit well with the rest of your plot and language, it will possibly offer a false impression of your book to the publishing industry and general reader.  You don’t want to confuse your audience as to what your book is like or to have your readers feel perplexed when they reach the first chapter, so make the prologue powerful, but in keeping with the ideas and style of the main text. Keep It Short I described before how prologues shouldn’t go beyond your average chapter length and this is one way to ensure you don’t bore the reader or include excessive information. Indeed, some of the most powerful prologues are brief, offering just a glimpse into a murder scene or a crucial part of the lead’s past, before delving into the main action. In this way, prologues can be very evocative, without giving away the store.  Consider then if less might be more with your prologue. Review Other Prologues Much of our skills as a writer come from reading, so research other prologues, particularly those from books in your genre to see how the best ones work. You could even try to experiment by emulating certain types, copying prologues to see how they’re put together, and experimenting with different types from the four given above to see what might work for your novel. Excellent Prologue Examples I’ve already mentioned some of the most famous prologues, such as Chaucer’s General Prologue, Shakespeare’s opening to Romeo and Juliet, but there are also plenty of more contemporary examples available, including those from Douglas Adams’ Hitchhikers’ Guide to the Galaxy, Michael Crichton’s Jurassic Park and Robert Ludlum’s The Bourne Identity.  From ancient Greece to modern action and adventure, there are plenty of juicy examples of prologues to ponder. Think carefully as you read about what the author is presenting in the prologue, what type of prologue it is (does it provide background, for instance) and how long the author has made it. By taking notes and really absorbing what the author is doing, your own ideas and writing craft will grow. Prologues Can Add So Much As you can see, prologues aren’t always necessary, but they can add a lot to the opening of a novel if handled well.  From ancient Greece on, writers have turned to prologues to provide important past information on the characters and general background. They also can be part of world-building in sci-fi and fantasy or generate context for historical fiction.  Moreover, prologues can offer a framework for an older narrator to look back to the past, or to present a different point-of-view – such as that of a murderer in crime – thus adding mystery, as well as dramatic irony and a juicy impending sense of doom. Although you have to be careful not to add too much backstory or go on too long, ensuring that you keep the prologue relevant and consistent with the style of the rest of the book, you might end up with a really special opening to your novel. Try it and see how you get on! Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community. 

How to Write a Compelling Plot Twist

How to Write a Compelling Plot Twist - a Complete Guide We all know that a book with a great hook is something agents, editors, and readers are looking for. But when it comes to books that last, the ones that readers will be recommending for years to come, it’s those with the best plot twists that stand the test of time. Yet plot twists are so hard to write. So how do you deliver thrilling twists and turns that will keep your readers guessing until the very end? What is a plot twist? “I feel that the characters in my book, if they were real, would be like, \"Seriously, another plot twist?” (Author, Meghan Blistinsky)A plot twist is a literary device found in all forms of storytelling, where the reader (or viewer) is lured into the intrigue of the plot and left reeling by a grand revelation or turn of events they didn’t see coming. A plot twist can take place in any scenario, but there are three very important rules a writer must follow: 1. It must be plausibleThe reader needs to be surprised by the revelation, but not shocked. All readers love to guess what will happen next, but if the plot twist doesn’t make sense or hasn’t been primed in advance the readers will feel tricked or let down.2. It must be a surpriseIt’s not much of a twist if the reader is able to guess the outcome from the very beginning. A successful plot twist, whether in a book or movie, will keep people guessing all the way through.3. It must be foreshadowedWe all love to think we can outsmart the writer and guess what will happen. But a great writer will make you think you’ve cracked it, and still surprise you with a revelation that makes total sense, but only in retrospect. Why is it important to have plot twists in your book? It’s not. Plot twists aren’t vital in every book, but they are a great way to add intrigue, keep readers turning the pages, and get them invested in the plot. Not to mention add much-needed hype to your book. And it doesn’t matter what genre you write in. A great plot twist transcends all types of books and stories. We often think of thriller plot twists when considering books with a grand reveal – you can’t have a successful murder mystery without a shocking revelation at the end - but every book can benefit from adding a plot twist (or two, or three, or four) to add tension, intrigue, and keep readers talking.A good plot twist can be used effectively in all genres, from fantasy and YA to rom coms and gothic horror. Even if no one has gone missing or been killed. Plot twist examples from books and movies “The best stories are the ones with the unexpected plot twists that no one would have guessed, even the writer.”(Author, Shannon L. Alder) There are too many amazing movie plot twist examples and great plot twists in books to list them all, so we’ve split them up into three types. Plus, we’ve kept the descriptions vague so as not to ruin their big ‘wow’ moments if you are unfamiliar with them. Watching a movie, or reading a book, a second time can be extra enjoyable because that’s when we see how the writer planted the clues to the twists throughout the story from the beginning. See if you can think of your favourite plot twists and where they would fit in to these three categories. Plot Twist #1: The Grand Reveal This is generally known as the ‘who dunnit?’ and is used in all crime, thriller, and murder mystery books and movies.Behind her Eyes by Sarah PinboroughA single mother falls in love with her boss and befriends his wife, but something is very wrong.Sharp Objects by Gillian FlynnA reporter confronts the psychological demons from her past when she returns to her hometown to cover a violent murder. Knives OutWho killed crime novelist Harlan Thrombey? A murder mystery with more twists than Chubby Checker.The Orient Express by Agatha ChristieJust after midnight the Orient Express stops in its tracks. In the morning, an American is found stabbed to death. Who did it?Secret Window, Secret Garden by Stephen KingPeople are being murdered. But who is the bad guy when you’re a writer living alone? Plot Twist # 2: The Plot Thickens These types of plot twists are often used to change the direction of the story. Sometimes the twist is the inciting incident, sometimes the midway reveal, or it can pull the protagonist in a new direction and lurching into act 3. When it comes to a series, these types of revelations can also serve as great cliff hangers. The Maze Runner by James DashnerDozens of boys, and one girl, must escape a maze for freedom. Yet who is behind their imprisonment? Fingersmith by Sarah WatersA novel set in Victorian England follows the intertwining lives of two women from different worlds. ParasiteA poor family scheme to become employed by a wealthy family and infiltrate their household by lying about who they are. The Girl With All the Gifts by Mike CareyA teacher and a scientist living in a dystopian future embark on a journey of survival with an unusual young girl.I am Legend by Richard MathesonA post-apocalyptic vampire thriller, about a lone survivor struggling to live in a world that is no longer his own. Plot Twist #3: Wait! What? Some of the best plot twists are those that you never asked for and come out of nowhere. By adding a huge twist at the end, one that (unlike a murder mystery) you were not waiting for, it changes the entire story from what you were led to believe to something else. Unlike a simple ‘who dunnit?’, these twists throw the biggest curve balls and leave you reeling as the credits roll or you close the book for the last time. Sixth SenseA little boy can see ghosts and is helped by a psychologist…who may not be all he seems. Everything, Everything by Nicola YoonA teen girl has an illness which means she can’t leave her bedroom. Then she falls in love. SevenSomeone is killing people based on the seven deadly sins. But what’s in that box at the end? American Psycho by Bret Easton EllisWe know he’s a cold-blooded killer. Or is he?We Were Liars by E. LockhartA lonely teen girl recounts one beautiful summer, that may not have been so beautiful after all. How to write your own plot twists “Beneath every story, there is another story. There is a hand within the hand...... There is a blow behind the blow.”(Author, Naomi Alderman) You only have to read the latest Amazon reviews of a newly-hyped thriller to see how important plot twists are to readers. Many books are sold as having a ‘twist you never saw coming’ – which can backfire if readers are able to guess the grand reveal too early, leaving them feeling cheated. In other words, readers want you to surprise them with twists that they never saw coming yet were obvious in retrospect. This is easier said than done. So how can you, as a writer, achieve that? Here are five plot twist writing tips to keep your readers intrigued and guessing until the very end:1. Let your characters do the hard work If you have created well-rounded characters with clear intentions and strong personalities, they will often reveal to you something you never initially planned. Relax and leave your main characters to do the walking and talking. Perhaps put them in a strange scenario and see what happens. You may be surprised by where they take you. 2. Work backwards When it comes to the best thriller plot twists, authors often work backwards. They start with the big reveal, then go back and insert subtle clues and pointers alongside dead ends and red herrings. It’s important the clues are hidden amongst the more obvious clues that are placed on purpose to misdirect the reader. For example: If you want the killer at the end of your novel to be the cleaner, you may have her polishing the gun in act one, and you may have her cleaning in a scene where another suspect is acting more obviously guilty. The best places to add plausible clues that lead to your twist is to hide them among action or dramatic narrative where the readers won’t be noticing them as much. Let your readers think they’ve cracked it, then lead them down a dead end and make them circle back. 3. Mislead your readers on purpose This leads us on to misdirection, red herrings, and dead ends. The only way to keep your readers guessing is to play with them. Like any good magician, you make them look at your right hand while hiding the coin with your left. This doesn’t mean simply pointing at the wrong culprit until the big reveal at the end, but entertaining your readers with plenty of action and intrigue until they are yanked out of their comfort zone with a big twist.For example, in Life of Pi by Yann Martel, we are so intrigued by the concept of a man having to survive on a life raft with a killer tiger, that it doesn’t occur to us that the story may be an allegory. And in Fight Club by Chuck Palahniuk, we are so enthralled by the depiction of a seedy club full of men fighting one another, that we never once consider that perhaps our narrator is far from reliable. 4. Give them a mega twist at the end of the first twist There are no rules when it comes to how many plot twists you can have in one book (as long as you don’t make your readers dizzy with them). One fun device is to build up to an expected twist, then deliver a mega-deadly twist straight after. One example of three twists in a row is in The Wonderful Wizard of Oz by L. Frank Baum. In the original novel, not only does Dorothy discover that the Great Oz is merely an inept man behind a curtain, but she learns that she could have got home simply by clicking her heels. And then, as if that’s not enough drama, once she’s back in Kansas we discover it was a dream all along. Or was it?These twists after twists are a fun way to add tension and speed up the pace during the last act, and to keep readers thinking of the story long after they close the book. 5. Play with your readers’ emotions Authors love to make you feel – whether that means making you laugh, cry, shocked, or even so angry you throw the book against the wall (then quickly pick it back up, because you simply have to know what happens next). The best way to play with a reader’s emotions is to deliver a roller coaster of gut-wrenching twists. In Romeo and Juliet, we go from the throes of passion and teen love to Romeo’s best friend Mercutio being killed by Juliet’s cousin. A big dilemma we never saw coming. From love to despair, Romeo then delivers another twist when he kills Tybalt in revenge. We go from a cute YA love story to one of violence, tragedy, and drama when Romeo is banished. If Romeo and Juliet were a teen novel today, most readers would expect that arc to lift by the end of the book, proving that love can overcome everything. Yet this is no love story, it’s a tragedy that purposely messes with your emotions. As a final, fatal, twist we see Romeo not only kill himself in the last act because he thinks Juliet is dead – but Juliet wakes up, sees that her lover is dead, and kills herself too! This onslaught of dramatic twists leaves the spectators reeling with every imaginable emotion until at the end of the play they are left completely bereft. But in the very best way. Because, ultimately, a reader wants a writer to make them feel. A plot twist with a difference As a final plot twist of our own, we’re adding a little bit more to this article and supplying you with some inspiration for your own memorable plot twist creations. Now we’ve had a look at what plot twists are, which ones work best, and how to write your own, here are some fun prompts to get you messing with your readers’ minds. What if… - The bad guy isn’t the bad guy after all? The MC is? - The MC falls in love with the friend helping them get the girl? - The imaginary world is the real world? - The MC isn’t the narrator? It’s all been from someone else’s POV? - The good guys were never there to help after all? - The MC isn’t alone, as we have been led to believe? - The narrator is unreliable? - The MC has been lied to all along? - They were pretending to be someone else? - They are not dead? - Or…are not alive?Plot twists, when executed well, are not only fun to experience as a reader, but are also a lot of fun to write. There’s no greater thrill than a reader exclaiming they never saw your twist coming. Next time you are reading a great book, or watching a movie, study where the writer or director is asking you to look and look in the opposite direction. Study the clues, guess the outcome, and try to get one over on the writer. You may even be inspired to write your own unforgettable plot twist. For support with your creative writing and helping you get published, join the world’s leading online writers club at Jericho Writers.

Felicia Yap on weaving your life experiences into your writing

Friday Night Live shortlisted author, Felicia Yap, was snapped up by Jonny Geller at Curtis Brown soon after our 2015 Festival of Writing. Her brilliant high-concept thriller \'Yesterday\' was bought by Headline’s Alex Clarke for a six-figure sum. Her latest title, \'Future Perfect\', was also published by Headline in March 2021. Felicia has had an expansive and divergent career; we spoke to her about how you can use multiple interests to inform and add texture to your writing. JW: Hi Felicia! It\'s great to talk to you. Could you start by telling us about yourself as a writer? When did you start writing? FY: I started out as a journalist. I wrote newspaper articles from the age of nineteen (for The Economist and The Business Times, amongst other publications). Later on, I became a historian at the University of Cambridge and spent years writing academic papers about the Second World War. I only began writing fiction properly after the idea for my debut novel \'Yesterday\' came to me; the concept struck me on my way to a dance studio in Cambridge. I started writing the next day and I’m glad I did. JW: Tell us about your journey to publication. Were there any events or resources that helped you along the way? FY: I was fortunate to be shortlisted for the Friday Night Live competition at the Festival of Writing in 2015. It was a joy to read the opening paragraphs of \'Yesterday\' to a large audience in York; I was thrilled by how the audience responded. It made me confident that my story began decently – which in turn made me twice as determined to finish my manuscript. \"Nothing in life is ever wasted when it comes to writing.\" JW: So, you got your agent – what happened next? FY: I did an extensive round of edits with my agent. He then sent out my manuscript and it went to auction in multiple territories. JW: What happened at the auction?   FY: I had the wonderful privilege of speaking to several editors in both the United Kingdom and America, to find out if we shared similar visions for the manuscript. It was an exciting time. JW: You’ve had a multi-hyphenate career, including working as a radioactive-cell biologist, a war historian, and a technology journalist. How have your different career paths informed your writing? FY: I have drawn on technical elements and knowledge from the professional orbits I\'ve moved through. I have also incorporated sensory details from these worlds. My second novel \'Future Perfect\' combines high fashion with technology; the book is set in the near future where computers will be able to predict how we will live and when we will die. The first chapter is told by a model who carries a bomb down a catwalk in Manhattan. I used to be a runway model and wrote quite a few articles on detection/prediction technologies for The Economist in the past. \'Yesterday\' contains spoof academic papers and science articles in the house styles of the publications I have contributed to. Nothing in life is ever wasted when it comes to writing. JW: Do you have any tips for balancing writing alongside other, seemingly divergent pursuits? FY: My unorthodox pursuits have stemmed from curiosity; I’m fascinated by the delicious possibilities out there, the things worth trying and doing. I’m convinced that divergent activities can enrich a person’s life (and one’s writing), especially the quirky ones. Life is too short not to be embraced fully. If one truly enjoys one’s pursuits, balance will come naturally. JW: Your writing balances being very high concept whilst at the same time achieving the complexity of a murder mystery. How do you approach this? FY: I normally begin with the concept and iron out the details later. Both my novels were inspired by conundrums, questions I knew I would be happy spending two years of my life figuring out the answers to. \'Yesterday\' grew out of the question: ‘How do you solve a murder if you only remember yesterday?’ While \'Future Perfect\' was inspired by the concept: ‘What if today were your last day?’ Yet, high concepts are merely empty canvases on which to hang narratives. What makes a story sparkle are the tiny yet lively details that populate it. JW: Is your writing more research-driven or informed by the experiences you’ve already had? FY: All my writing is informed by personal experience, the things I have done or encountered  (or eavesdropped on). I try to set my stories in places that I have visited before or know well. This is because the five senses are crucial in the art of storytelling, especially their rich alchemy. Stories come alive when readers can feel, touch, hear, taste and see what the characters are experiencing. I believe that one can only write about the five senses convincingly if one has experienced them in the magical amalgamation unique to a particular location. I also do a lot of research but only after I have completed the first drafts of my manuscripts. It helps to know what you don’t know, so that you can ask the right people the right sort of questions. \"High concepts are merely empty canvases on which to hang narratives. What makes a story sparkle are the tiny yet lively details that populate it.\" JW: Do you think that your experience as a journalist had an impact on your writing? FY: Most certainly. The first paragraph of The Economist Style Guide continues to resonate with me. It says: “Clarity of writing usually follows clarity of thought. So think what you want to say, then say it as simply as possible.” JW: Were there any other resources you found helpful along the way? I did a couple of writing courses; they helped me understand the basic ‘rules’ of storytelling and gave me some appreciation of form, structure, and technique. It helps to know the rules if you hope to break them. More importantly, the courses put me in touch with other writers. Many of my classmates have since become good friends and we still send our works-in-progress to each other for critical feedback. \"It helps to know the rules if you hope to break them.\" JW: What are you working on next? FY: I wish I could tell you but I’m afraid it might jinx what I’m currently working on. Even my long-suffering partner Alex hasn’t got a clue! About Felicia Felicia Yap is the author of the speculative literary thrillers \'Future Perfect\' and \'Yesterday\', published in multiple languages around the world. She has worked as a radioactive-cell biologist, a war historian, a university lecturer, a technology journalist, a theatre critic, a flea-market trader, and a catwalk model. Read more about Felicia Yap on her website. FUTURE PERFECT YESTERDAY Follow Felicia Yap on Twitter at @FeliciaMYap

Punctuation for Writers: Tips & Advice

Punctuation for Writers of Fiction and Creative Non-Fiction Punctuation matters. Correct punctuation tells the reader how to read the words you have on the page: where to put the pauses, how to make sense of your sentences. It’s not too much to say that bad punctuation will kill a book. It’ll get rejected by agents and readers alike. Trying to sell a badly punctuated manuscript is like going on a date wearing last week’s jogging pants. The underlying problem is the same in both cases. The badly punctuated manuscript and the dirty jogging bottoms both say, “I don’t care.” I don’t care about you, my hot date. I don’t care about you, my precious reader. Any sane date will just make their excuses and leave. A reader will do the same – and quite right too. So here goes with a quick guide to the major punctuation marks. In each case, we’ll talk about: The basic ruleThe most common punctuation errors that writers makeMore advanced ways to use the tool Most of you reading this will know the basic rules. Even so, it’s likely that you’ll be committing at least some of the errors some of the time (a few of them are very common indeed.) And pretty much everyone will get at least something from thinking about how to use punctuation marks in a more sophisticated, writerly way. The Period, Or Full Stop (.) OK, you know when to use this little beast. You use it at the end of sentences, so long as those sentences aren’t questions or exclamations (in which case you’d use the “?” or “!” instead.) Easy, right? The Most Common Error One of the most prevalent errors in manuscripts written by first time writers is the so-called run-on sentence. It looks something like this: She was a breath of fresh air in our little town, she came into school on her first day with a bunch of garden flowers for the teacher and home-made candy for us, her schoolmates, it should have looked cheesy, but we fell in love with her on the spot. The error here is simple. The writer is using commas (“,”) where they should be using periods. The result is like someone just gabbling in your face, yadda-yadda-yadda, without giving you a chance to draw a breath or reflect. The solution is simple. You chop the sentence up with periods, to produce this: She was a breath of fresh air in our little town. She came into school on her first day with a bunch of garden flowers for the teacher and home-made candy for us, her schoolmates. It should have looked cheesy, but we fell in love with her on the spot. Phew! That’s a mile better already. Notice that there’s still a comma dividing two of the sentences (“It should have looked cheesy” and “we fell in love with her.”) The grammar-reason why that comma is OK is that you have “but” – a conjunction, a connector word – joining the two sentences. In a way, though, I’d prefer you to forget about the grammar and just listen to the rhythms. Say the first snippet out loud, then the second one. If it feels right, it is right. That’s pretty much all the grammar you are ever going to need. More Advanced Ways to Use the Tool Back at school, you were probably told to avoid sentence fragments – the name given to sentences that lack a main verb. (Like this one, for example.) That’s rather old-fashioned advice in some ways, and it’s certainly unhelpful advice to offer when it comes to writing fiction or creative non-fiction. Take my own work. My narrator is jerky, tough, awkward, abrupt. Her voice is all those things too, and the consequence is that her prose makes use of a lot of sentence fragments. For instance: There’s a woman at the wheel. Forties, maybe. Blonde. Shoulder-length hair held back in a grip. Blue woollen coat worn over a dark jumper.I kick the door. Hard. I’m wearing boots and kick hard enough to dent the panel. Pretty clearly here, the periods are dividing my language up into units of meaning, not into sentences. The words Blonde and Hard are just words, after all. They’re not even attempting to be complete sentences. Equally clearly, my narrator’s language forces that kind of punctuation on the manuscript. If you wanted to follow the “period = end of sentence” rule, you’d have to rewrite the text so it looked something like this: There’s a woman at the wheel. She is in her forties, maybe. Her blonde, shoulder-length hair is held back in a grip. She wears a blue woollen coat worn over a dark jumper. [and so on] That’s not just differently punctuated. It has a different tone, a different mood. It’s perfectly fine writing … but it’s not what I wanted. The “correct” punctuation ends up destroying the voice I worked hard to create. As a rough, rough guide, literary fiction will tend to have relatively few sentence fragments, while crime thrillers and the like will have many more. But fiction is much more supple than that general rule suggests. So yes, my character is tough. Yes, she uses lots of sentences fragments in approved noir style. But she also reflects on philosophy, quotes poetry, introspects extensive, and so on. In the end, you build from the character to the voice to the punctuation. It makes no sense to try building the other way. The Exclamation Mark (!) An exclamation mark (or point) marks an exclamation, denotes shouting, or otherwise gives emphasis to a sentence. It’s like a shouty form of a period. But watch out! You think you know how to use the exclamation mark, but … The Most Common Error The most common error is to use the exclamation mark! It’s fine in emails. It’s OK-ish in blog posts. But in novels? Avoid it. As Scott Fitzgerald remarked, “An exclamation mark is like laughing at your own jokes.” It’s like you’re trying to make your punctuation compensate for a failure of your actual writing. If you want a rough rule of thumb, you can use one or maximum two exclamation marks per 100,000 words of prose. If you have zero, that’s just fine. And never, ever have a double or treble exclamation mark in your text. What’s fine on Twitter, looks just awful on the printed page. More Advanced Ways to (Not) Use the Tool So if I (like most pro authors) hate the exclamation mark, what do you do instead? After all, there may be occasions where you feel your work actually needs the emphasis. But consider these alternatives: #1 “Go get it.”#2 “Go get it!”#3 “Go get it,” he ordered her, sharply. Those options are ranked in approximate order of shoutiness. The first option doesn’t feel especially emphatic. The addition of the exclamation mark adds a little force. The third option adds even more, via a highly coloured verb and adverb combo. But neither of the last two options is great. And the issue here is simply this: the actual bit of underlying dialogue is fairly colourless, and that’s not going to change, no matter how many toppings you put on. In other words, if you started out with option #1 and found yourself thinking, “Hmm, this feels a little bland, so let’s get out the heavy-duty punctuation,” that should be a signal that you need to rewrite things. So a better option than either #1, #2 or #3 above would be: #4 “Go get it. Get it now. Give it to me. Never take it again.” You’re not using anything more than a common old period there, and you’re not resorting to ordering sharply, yelling loudly, yodelling wildly or exclaiming defiantly. But because your dialogue is now unmistakeably emphatic, it’s fine on its own. If the burger tastes great, you don’t need the relish. The Ellipsis (…) An ellipsis is a bit of a slippery brute. What it does is mark the fact that some words are missing. So, in dialogue, for example, people will often trail off, rather than actually complete a sentence. That much is easy – but how do you actually write it? Three dots is pretty much universal, but do you have spaces between them? Do you have a space before and after the ellipsis? And if you have the ellipsis at the start of a sentence, do you have a period (to denote the end of the previous sentence), then a space, then the ellipsis? That option sounds technically correct, but also rather fussy. The good news for you is that none of this really matters. Different style authorities advise different things, with some variation between British and American usage. And in the end, who really cares? Your editor won’t. Your agent won’t. Your reader won’t. It’s just not a big deal. I’d suggest, in general, that you use three dots without spacing in between, but with a space before and after. Like so: “Oh, Jen, if you really think that, then we should … I mean, maybe this was never meant to be.” The Most Common Error As with exclamation marks, the primary error is to overuse these little beasts. What works fine in an email, quickly looks annoying on the printed page. But whereas I’d advise you to hunt the exclamation mark almost to extinction, you can let the ellipsis breathe, just a little. One ellipsis per chapter is probably too many, but you’d have to be quite a fussy ready to object to half a dozen, or even a dozen, over the course of a full length novel. More Advanced Ways to Use the Tool As with the exclamation mark, the best way to use the ellipsis is to let it nudge you into querying your own writing. If you feel yourself wanting to use the ellipsis, just check that it’s not your writing that needs to change. In nine out of ten cases, adjusting your text will be a better option than using the ellipsis. The Semi-Colon ( ; ) The semi-colon is a divider, the way commas and periods are dividers. The comma is the lightest of these in weight: it inserts the shortest of pauses. The period inserts the maximum pause. The semi-colon lives somewhere in between. Here’s an example of all three in action: It never normally rained, but the weather that day was awful.(comma = minimal pause)It never normally rained; my mother didn’t even own an umbrella(semi-colon = mid-weight pause)It never normally rained. That day, though, there was a deluge.(period = strongest pause) And look: you can live without the semi-colon completely. Personally, I quite like semi-colons, but my narrator, Fiona Griffiths, never uses them, so in about 750,000 words of published Fiona Griffiths’ novels, there’s only one semi-colon – and that enters the text via a direct quote from Wikipedia. Short message: if the semi-colon scares you, it’s fine to leave it well alone. The Most Common Error There are no common errors with semi-colons, except maybe overuse by people thinking they’re fancy. More Advanced Ways to Use the Tool Thinking of semi-colons as a middle-weight pause is technically correct, but it misses something, nevertheless. A better way to conceive of the mark is this: You need a semi-colon when you have two sentences, and the second one corrects or modifies the meaning of the first. So take those examples above. We used a semi-colon in this context: It never normally rained; my mother didn’t even own an umbrella. The first sentence is, in effect, adjusted by the second. The semi-colon tells us to read the second sentence as a kind of comment on the first one: “look, here’s just how much it never rained.” Or, if you want a slightly more grown-up example, here’s William Faulkner in The Sound and the Fury: Clocks slay time… time is dead as long as it is being clicked off by little wheels; only when the clock stops does time come to life. But you can get too hung up on these things. Arguably, sentences that speak about each other shouldn’t need any punctuation to get their point across. The text itself should handle the communication just fine. So there’ll be plenty of writers (including my narrator) who’d agree with Kurt Vonnegut’s lesson in creative writing: First rule: Do not use semicolons. They are transvestite hermaphrodites representing absolutely nothing. All they do is show you’ve been to college. And who cares if you’ve been to college, right? Parenthesis Brackets () | Dashes – – | Commas ,, There are three types of parenthesis you can use. They are: Commas: The comma, always a useful creature, can be used to separate one clause from the rest.Dashes: The dash – a more forceful beast – can be used in much the same way.Brackets: The bracket (perfectly fine in non-fiction) is relatively rare in fiction. But these three are not equivalent, and not equally common. I just opened up my Word document that contains the entire Fiona Griffiths series, and checked to see how many of each punctuation mark I used. In about 650,000 words of text, I used: 39,000 commas, of which, admittedly, many thousand wouldn’t be parenthetical.5,000 dashes, though most of these were actually hyphens, as in “short-tempered”. So I’m going to guess maybe only 1,000 actual dashes.100 brackets, of which many were things like “in Paragraph 22(c)”, where the use of the bracket isn’t really a parenthesis in the normal way. The Most Common Error There are two common errors when it comes to parenthesis. The first error is not to use anything to mark off a clause from the rest of a sentence resulting in (often, but not always) a sentence that is just plain hard to read. For example: The comma always a useful creature can be used to separate one clause from the rest. Tucking commas in around the useful-creature clause makes the meaning pop right out. The second error is kind of the opposite. It’s as though writers get worried that commas aren’t emphatic enough, so they start clamping their text inside brackets, like this: She couldn’t get enough of him (understandable, given her past), so she tried to find reasons why he couldn’t leave. And that feels heavy-handed. A simple rewrite releases the sentence and lets it breathe: Understandably, given her tangled past, she couldn’t get enough of him and she tried to find reasons why he couldn’t leave. There’s more flow there. Less sense of an author forcing information at you. The no-brackets alternative seems much more natural to fiction. The with-brackets version is better suited to the information-delivery task of non-fiction. More Advanced Ways to Use Parenthesis The real trick with parenthesis – and with commas particularly – is to learn to feel the weight of a sentence. In most cases, commas will cover your parenthetical needs. If you need to rewrite something to make it work, then rewrite it. If you need the greater weight of dashes, then go for it, but recognise that you are, in a small way, pulling on the handbrake mid-sentence. If that’s what you want, fine. In many cases, there’ll be better options. Oh, and though I personally never read my text out loud, lots of authors swear by it – and any hiccups or awkwardness as you read is a huge clue that your punctuation or your text (or both) are at fault. Hyphens and Dashes The hyphen, the en dash, and the em dash We can’t quite leave a post about punctuation without talking about the various dashes available to you. Specifics in one second, but first, a public annoucement: The specifics don’t really matter. Yes, a lot of writers (especially those college-educated brutes that got Vonnegut all riled up) care a lot about their en dashes and their em dashes. But if you’ve never spent a moment caring about them in the past, you don’t have to worry that you’ve been doing something very wrong. You haven’t. Any “errors” on this scale will bother almost nobody – neither readers, nor agents. So, here’s what hyphens and dashes are and how to use them. The Hyphen The hyphen is on your keyboard as a minus sign. You use it to connect words, as for example: The hot-headed wood-cutter tip-toed past the one-eyed she-wolf. Apart from a slight anxiety about whether a hyphen is needed in a particular context (is it woodcutter or wood-cutter?), it’s hard to get these little fellows wrong. Oh, and although everyone will have a house-style defining when to use hyphens, everyone’s style guide will be a bit different, so there’s often not a clear right and wrong here anyway. The En Dash The en dash is so called because it is a dash approximately the same width as the letter N. And it doesn’t live on your keyboard anywhere: you have to give it life and breath all by yourself. You do this by hitting Ctrl and the minus sign at the same time, to give yourself something that looks like this: Ludwig van Beethoven (1770–1827) As that example suggests, it’s used mostly for dates, or for things that feel much the same, for example: Washington–New York (in the context of a flight timetable, for example.) The Em Dash The em dash is so called because … well, you’re going to have to guess which letter-width it’s named after. You create this little critter in Word by hitting Ctrl-Alt-minus. And the em dash performs the following functions: It marks an interruption in dialogue.“The buried treasure,” he said, as he lay dying, “the treasure can be found just to the right of the old—”It marks a parenthesis in the middle of a sentence.The em dash—more forceful than commas—marks out a parenthesis in the middle of a sentence.But it can also mark out a parenthesis at the end of a sentence.He was allergic to fruit, sunshine, exercise and soap—or so he always insisted.(The “so he always insisted” part is the parenthesis here. If you were using brackets, that whole end chunk would be enclosed in brackets.)It can be used as a slightly informal colon.The result of that informal colon—often a little hint of comedy, or something of a “ta-daa” quality.It marks deleted or redacted words.The accuser, Ms — —, struck a defiant tone in court. Best practice is generally to use the em dash without a space before or after, but that’s one of those things that doesn’t actually matter. Newspapers tend to use spaces and British usage is much more tolerant of spacing and lots of people just don’t know the rules anyway. That’s it from me. Beautiful punctuation is often a sign of careful writing and a beautifully readable book. Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community.

How to write according to Myers-Briggs personality type

Guest author and blogger Lauren Sapala is a writing coach, the author of The INFJ Writer, and writes about writing, creativity, and personality theory on her blog. She currently lives in San Francisco. It’s often empowering to understand what helps you as a writer, but types only take us so far. First and foremost, you’re you. What builds your own creativity and what holds you back? If you’re struggling to make headway on a writing project, think how you best work, how maybe a “weakness” could be a strength, and what’ll most help you finish – will it be a deadline? Or a designated day of the week to write? For more on the MBTI system, the Myers & Briggs Foundation website is a great place to start. However, I’d urge every writer to experiment with many different methods of writing to find what works best for them. There can be great variation, even among the same type. Every artist is an individual. All artists should give themselves the permission to do whatever works best for them. Are You An Intuitive Writer? I struggled for years as a writer. I wanted desperately to write a novel, but I couldn’t even write the first page. Then, when I finally worked up the courage to take a creative writing course in college, I failed miserably. I stopped writing altogether for seven years. Oddly enough, it wasn’t until I discovered my Myers-Briggs personality type that I began to shine as a writer. Finding out that I was an intuitive personality was just the information I needed to finally move forward. The Myers-Briggs Type Indicator is a system of 16 personality types that divides people along a spectrum of traits that determine how an individual interprets and reacts to the world. The MBTI system focuses on such tendencies as introversion versus extroversion, and intuition versus sensing (i.e. relying primarily on concrete information gleaned from one’s five physical senses). The complexity of the MBTI system is too vast to be addressed fully in this article, so if you don’t already know your type or you’re interested in learning more about this fascinating area of psychology, I recommend you make use of the wealth of helpful resources that can be found online. If you do already know your type, and you want to know a bit more about how this affects your strengths and weaknesses as a writer, look at my selection of “writers by type” below, to discover how you can start using your type as a creative advantage. These below are intuitive personalities on the MBTI system – ones I seem to work oftenest with, encouraging their ideas and intuitive talent. Tips For INFJ Writers I’m an INFJ writer myself, and so I’m intimately acquainted with many of the most common obstacles INFJ writers face. The number one challenge I see INFJ writers struggle with is perfectionism. INFJs have a rich, all-consuming inner life, and they excel brilliantly at seeing the big picture and imagining the ideal version of how something could take shape in the future. Because INFJs are such amazing abstract thinkers, it’s easy for us to bring together different elements in our mind to form a perfect whole. It’s when we try to make this “perfect whole” a physical reality that we’re confronted with the real world and all the messiness, pitfalls, snags, and less-than-perfect elements it contains. INFJ writers who are unconscious of their own perfectionistic tendencies will get stuck at this stage, always dreaming and never making any of their dreams a reality. It’s only when INFJ writers realize that the real world is never perfect, and anything they create will necessarily be bound to this real-world truth, that they can begin to accept their writing for what it is, flaws and all. Tips For INFP Writers INFP writers suffer the most from too many ideas, and a feeling of being overwhelmed by all the choices and different creative paths they could take. I’ve written on my site on the non-linear way I’ve often seen INFP writers work. This can be a strength, though – a means to connect patterns between scenes, images, characters, and ideas. It’s also not uncommon to see an INFP writer working on several writing projects at once, but the problem is not that INFPs work on too many things at the same time. Instead, the problem is that they tend to judge themselves harshly and resist their natural tendency at every turn. INFPs need a lot of variety. They also need a sense of flexibility and the freedom to be spontaneous and fluid in their artistic pursuits. Out of all the types, INFPs are most likely to work in circles. This means that the INFP writer usually works on one story, then moves onto painting for a few days, then moves onto writing a poem, and finally circles back to the story. There is absolutely nothing wrong with this approach and, in fact, it can work quite well for INFPs who have accepted their nature and embrace this circular way of working. INFP writers run into trouble though, when they compare their creative processes to others and try to force themselves to work in a linear manner. Tips For ENJF Writers Out of the four intuitive feeling types (INFJ, INFP, ENFJ and ENFP) the ENFJ is the type that is most likely to fall prey to an extremely harsh inner critic. ENFJs are almost preternaturally aware of the relationship dynamics surrounding them, and that includes a thorough assessment of how others view them and how they measure up in the larger order of any community of which they happen to be a part. This leads many of them to easily play the comparison game, and many times feel like they’re coming out on the losing end. ENFJs also have a strong need for connection and community. If they feel isolated in their writing pursuits, or like no one understands them or “gets” what they’re attempting to do with their writing, they can quickly shut down and then begin isolating themselves even further. ENFJs must feel emotionally supported by a group of peers they love and respect. This is when they will do their best work. Tips For ENFP Writers ENFPs are similar to INFPs in that they suffer from the feeling of being overwhelmed by too many ideas, but with ENFPs this includes an outer world component that can contribute to even more overwhelm. Simply put, ENFPs are unabashed extroverts. They love people and they love getting out and having adventures with people. A healthy ENFP might work two jobs, have a family, and still take up demanding hobbies such as snowboarding or Spanish classes in their spare time. This kind of schedule usually leaves little time for writing. The number one problem most ENFPs struggle with is finishing things. They begin novels, plays, and short stories full of enthusiasm for the project, but then a sparkly, too-interesting-to-resist person or cause comes along and immediately distracts them. The best method for ENFPs is to devote one day a week to a certain piece of work (maybe the novel they’ve always dreamed of writing) and keep firm boundaries in place around that day so that the project gets a guaranteed slice of their creative energy on a regular basis. Never feel boxed in, though. Find your best writing habits. Always do what works for you. Learn about Lauren’s journey and read more at her site. Learn more about all different MBTI types and writing styles – and check out more free writing advice on us.

Points of View in Fiction Writing

Points of View in Fiction Writing (with Plenty of Examples) What is first person writing in fiction? What’s third person narrative? What’s all this about limited vs omniscient…? How you narrate a story – or what points of view you choose when writing fiction – can make all the difference to its appeal. What’s more, the choices you make now will affect every page (indeed, pretty much every sentence) of your novel. So you’d better get things right, huh? No worries. This post will tell you everything you need to know. We’ll start with some definitions and some examples, then assess the pros and cons of each possibility. Oh, and buckle up. This stuff can sound quite technical and scary, but (a) it’s simpler than it sounds, and (b) the choice you want to make instinctively is probably the right one. It’s really possible to overthink these things! First up: some definitions. All You Need To Know About Points Of View Point of view (POV) is the narrator’s position in relation to the story: First person – the narrator and protagonist are the sameSecond person point of view– very rare and hard to pull offThird person – an ‘off-page’ narrator relates a story about your charactersMixed – combines first-and third-person passages Point of View: Definitions The Point of View (or “POV”) is the narrator’s position in relation to the story. There are a few basic possibilities here, one of which is exceptionally rare. They are: First person narrationIn this instance the narrator speaks in the first person, (“I did this, I said that, I thought the other.”) The narrator and the novel’s protagonist are essentially one and the same.Second person narrationHere the narrator speaks in the third person (“You did this”, and so on.) It’s exceptionally rare as a technique and is definitely not advisable for beginners.Third person narrationIn this instance, the narrator speaks in the third person, (“She did this, he did that, they did the other.”) The narrator is basically an invisible storyteller, telling the reader what happens to the novel’s protagonists. Third person narration comes in two basic flavours: limited third person and the extremely grand-sounding omniscient third person. We’ll get more into the detail of those two in a moment, but the basic difference is that a limited 3rd person narrator stays very close to the character whose viewpoint is being used. An omniscient one is more inclined to wander free from the character and give a broader view of things. (Not sure you’ve got the distinction? No worries. We’ll get to more details in a moment.)Mixed narrationIf a novel combines passages told from the first person point of view with passages told from the third person point of view, it has mixed narration – or mixed first and third person point of view, if you really want to spell it out. Point of View: Examples Examples of first person narration are legion. For example: The Sherlock Holmes stories (narrated by Dr Watson, in the first person)Raymond Chandler’s Philip Marlowe stories (narrated by Philip Marlowe, of course)Bridget Jones’s Diary, narrated by … well, you’ve already guessed, right?Moby Dick, narrated by … well, put it this way, the famous first line is “Call me Ishmael.”Hunger Games, narrated by Katniss EverdeenTwilight, narrated by Bella SwanThe Kay Scarpetta novels of Patricia CornwellSome of Lee Child’s Jack Reacher books (but not all) Here’s an example of first person point of view in practice: “Call me Ishmael. Some years ago—never mind how long precisely—having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen and regulating the circulation.”—Moby Dick, by Herman Melville Examples of second person perspective are extremely rare. Famous recent examples include: Jay McInerney’s Bright Lights, Big City opens with the line, “You are not the kind of guy who would be at a place like this at this time in the morning” and then it continues from there, with the protagonist always described as “you”.Italo Calvino did much the same thing in If On A Winter’s Night A Traveller.There are a few other examples too, but you’ve got to be a really smart and skilled writer to do this. In short, for 99.99% of writers out there, just fuhgeddabahtit. This technique isn’t one for you. Examples of third person narration are also commonplace. For example: Girl with a Dragon Tattoo, which is about Lisbeth Salander, but not narrated by herThe Da Vinci Code, about Robert Langton, but not narrated by himJane Austen’s Pride & PrejudiceJohn Grisham’s The FirmStephen King’s MiserySome of Lee Child’s Jack Reacher novels, but not all And here’s an example of third person narration in practice: It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.However little known the feelings or views of such a man may be on his first entering a neighbourhood, this truth is so well fixed in the minds of the surrounding families, that he is considered the rightful property of some one or other of their daughters.“My dear Mr. Bennet,” said his lady to him one day, “have you heard that Netherfield Park is let at last?”—Pride and Prejudice, by Jane Austen Got that? OK. We’ll skip on to the limited / omniscient distinction, then start figuring out how to apply point of view to your novel. Third Person POV: Limited vs Omniscient OK, the thing that probably most confuses newer writers is the distinction between third person limited and third person omniscient. Quite honestly, though, this isn’t something to trouble with too much. If you want to write in third person, just do what’s right for your characters and your story, and you should do just fine. If you want to know more, however, what you need to know is this: Third Person Limited: Definition & Example When you use a limited form of third person narration, you stay very close to your character. So the narrator isn’t telling the reader anything that the character in question wouldn’t themselves know / see / hear / sense. Here’s a beautiful example from Anne Tyler (in Breathing Lessons): “They planned to wake up at seven, but Maggie [the point of view character in this passage] must have set the alarm wrong and so they overslept. They had to dress in a hurry and rush through breakfast, making do with faucet coffee and cold cereal. Then Ira headed off for the store on foot to leave a note for his customers, and Maggie walked to the body shop. She was wearing her best dress – blue-and-white sprigged with cape sleeves – and crisp black pumps, on account of the funeral. The pumps were only medium-heeled, but slowed her down some anyway.” You’ll notice that nothing at all in that passage is something that Maggie doesn’t know about. So even when the passage talks about Ira heading off to the store, that’s done from Maggie’s perspective. We know that he goes and what his purpose is there, but we know nothing at all about his walk itself – whereas we know exactly what Maggie’s wearing, and why, and why her shoes slowed her down. This is third person limited (because it’s so closely limited to Maggie’s perspective) and as you can see it delivers a kind of intimacy – even a homeliness. Third Person Omniscient: Definition And Example The omniscient version of third person is, as you’d expect, able to tell the reader things that aren’t directly knowable by any of the characters in the tale. The most famous example of this narrative voice in literature is surely this passage from Charles Dickens’s Tale of Two Cities: “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope,it was the winter of despair, …” As you can see, this isn’t told from any character’s viewpoint. It’s almost as though a lordly, all-seeing Charles Dickens is hovering over London (or England? or the world?) and giving his kingly overview of the situation. This type of writing has become rather less common in fiction, so you’ll tend to stick with broadly limited narration, interspersed (perhaps) by something a little more omniscient in flavour. Point of View: Which One Should You Write In? First Person Point of View First-person narration shares action as seen through the eyes of your narrator. A narrator can therefore only narrate scenes in which he or she is present. Coming-of-age novels – Dodie Smith’s I Capture the Castle, Stephen Chbosky’s The Perks of Being a Wallflower – work exceptionally well in first-person narration. A lot of YA books are written in first person, because their intimate, emotional narration chimes with their teenaged readership. Romances (with their emotional focus) are also often first person. So are ghost stories with a sense of claustrophobia like Susan Hill’s The Woman in Black. In particular, however, it’s worth thinking about Jonathan Franzen’s dictum that, “Write in third person unless a really distinctive first-person voice offers itself irresistibly.” In other words: (A) do you feel you have to write in that first person voice, and (B) does that first person voice really sound and feel distinctive, personal and indvidual. I’ve mostly written third person, but my recent detective novels are first person – essentially for the reasons Franzen hints at. Here’s an example from my book, The Deepest Grave. (I’ve made some short edits for length, but mostly this is as it appears in the finished book.) The narrator is Fiona Griffiths, my detective protagonist. I’m a little earlier than I said, but it’s not long before I hear the sound of approaching feet.Katie appears. Sees me up here on my bank. I raise a hand and smile welcome.She approaches.Impressively torn black jeans. Black cowboy boots, well-used. Dark vest-top worn under an almost military kahki shirt. A chunky necklace. One of those broad-brimmed Aussie-style hats with a leather band. […]The look has attitude and personality and toughness, without quite dipping into angry hippy counterculture.Also: she walks with a ski-stick, a mobility aid not a fashion statement.She comes up the bank towards me. Sits beside me.I say, ‘You hurt your ankle?’ You’ll notice that it’s not just that the observations are made by Fiona. (eg: “not long before I hear the sound of approaching feet”). It’s also that the character of those observations is shaped 100% by Fiona herself. So yes, the list of clothes that Katie is wearing is a fairly neutral list (though the very short sentences and lack of any verbs – that’s all Fiona). But that summary comment about the overall effect (“the look has attitude  . . .without quite dipping into angry hippy counterculture”) is what Fiona thinks about Katie’s look. I can’t comment myself, because this is Fiona’s narration. She’s in charge. For the same reason, if there were, let’s say, a lion in the undergrowth about to spring out on Fiona, the book couldn’t say anything about the lion, until Fiona herself had seen / heard / smelled / witnessed it in some way. Does that sound claustrophobic? Needlessly restrictive? Well, maybe. But I’m now halfway into writing novel #7 in that series, and when that book’s complete I’ll be close to 1,000,000 words published in the series. And every single one of those words, without exception, comes from Fiona’s voice. There is no other perspective anywhere in the series. In other words, the restriction of first person is real, but you can still write at length, and successfully in that style. First Person Point of View, Pros And Cons This is quite easy, really! The pro is the opposite of the con and vice versa. Pro: First person narration gives you intense, personal familiarity with the narrator. The reader can’t – short of putting the book down – separate from the narrator’s voice, their thoughts, their commentary, their feelings etc. Con: You lose flexibility. If there’s a lion in the undergrowth, you can’t say so, until your narrator has seen the damn thing. If a key thing happens in your plot without your narrator in the room, then tough. He or she can only talk about it when they encounter the consequences down the road. My comment:I’ve written books both ways. There’s no right or wrong here. I love both. One good tip is to use first person narration mostly when you have a distinctive narrator with a strong voice. Most thrillers are written third person (so they can flip between different points of view (eg: investigator / victim / perpetrator), but there’s no absolute rule. I write mine first person. Likewise, a lot of romance stories are written first person . . . but you can go either way there too. Third Person Point of View Third person narration uses “he” or “she”, where a first person narrator would say, “I”. Here’s an example taken from (and this is a blast from the past for me!) my first novel, The Money Makers: They spoke of other things until it was late. They damped down the fire, cleared away the dishes, and walked upstairs. Fiona went right on into the one usable bedroom. Matthew stopped at the door, where his bag lay.‘Fiona,’ he said. ‘You remember you said you would never ever lie for me again?’‘Yes.’‘Any chance of your lying for me right now?’ He looked at the inviting double bed, heaped high with clean linen and feather quilts.She smiled. Once again, ambiguity flickered in frightened eyes, but her answer was clear. She walked right up to Matthew and stopped a few inches from him. Her long dark hair fell around her shoulders, and her face was only inches from his. This scene (and the whole chapter) is written from Matthew’s perspective. So, yes, much of the factual data here (“they spoke of other things until it was late”) was available to both Fiona and Matthew in this scene. At the same time, when they step up close and get intimate, it’s Matthew we’re with, not Fiona. (How do we know this? Because when we get to “ambiguity flickered in frightened eyes”, it’s Matthew that sees this, not Fiona. If that little bit had been written from Fiona’s perspective, it would have had to say, “she felt ambivalent and frightened”, or something like that. Limited vs Omniscient My advice to newer writers is mostly to forget about this distinction. As a rule, you should stick close to your character – and that means adopting a generally limited point of view. How come? Well, quite simply, readers want to experience story through the eyes and ears of its characters, and that means time away from the limited perspective is time spent away from that precious character-experience. That said, if now and again, you want to dive into something a little more godlike (or omniscient), you absolutely can. Just: Make sure that your godlike voice offers something grand, the way Charles Dickens’s does in Tale of Two Cities. (The opening passage of White Teeth by Zadie Smith offers a rather more contemporary example.)Use that omniscient voice only in small doses. You want to zoom, pretty damn fast, from the omniscient view to the up-close-and-personal one. The golden rule to remember here is that readers want character – and they only get that experience from the limited perspective. Third Person Point of View: Pros And Cons The main limitation we found with the first person narrative approach was its restrictiveness. My and my Fiona Griffiths books, with every one of those 1,000,000 words locked into one voice, one point of view. So most writers adopting the third person approach will use multiple perspectives. George Eliot’s Middlemarch is one famous example. The same goes for much of nineteenth century fiction, especially of the more epic variety: Dickens, War and Peace, Vanity Fair, Henry James, you name it. What you get from those many perspectives is the ability to see into many hearts, many minds, many souls. That multi-viewpoint narration gives your novel: Richness – all those multiple perspectivesFlexibility – you can set your movie camera up wherever the action is happening. You avoid the restrictions of narrow first person narration.Potentially something epic in scale – because all those characters and voices lend a depth and scale to your story. Also notice this: There are types of suspense you just can’t deliver in a first person novel. So Hitchcock famously distinguished between surprise and suspense. If two people are sitting in a cafe, when a bomb detonates – that’s a surprise. But let’s restructure that same episode with multiple viewpoints, and you get something completely different. So we might see (Point of View #1) a terrorist planting a bomb in the cafe, then switch perspectives to (Point of View #2) the innocent couple drinking coffee right by the ticking bomb. In that case, the simple scene of two people drinking coffee becomes laden with suspense. The reader knows the bomb is there. The couple don’t. What’s going to happen . . .? That’s a type of suspense that we first-personeers (or single perspective third personeers) just can’t deliver. Consequently, third person / multiple viewpoint novels are particularly common with: thrillers and suspense novelsanything epic in scale. We’ve mentioned some nineteenth century fiction already, but George RR Martin and his Game of Thrones series is a perfect example of modern and big. Ditto any door-stopper by Tom Clancy. Third Person Point of View: Summary Most third person novels are written with multiple perspectives, even if (as in Harry Potter) the point of view stays mostly with a single central character. Advantages and disadvantages? Well, essentially you get the opposite of the first person pros and cons. So third person / multi-viewpoint narration: Is flexible. You can pop the camera anywhere you want. You can deliver suspense as well as surprise.Enlarges your book. It can move you from a narrow-focus/small book to a wide-focus/epic one.Loses intimacy. In particular, if your camera gets too promiscuous – if you just use too many viewpoints – you risk breaking the reader’s bond with your central character(s). If that happens, your book dies! Third Person Narration: The Golden Rules We said above that the main risk of multiple viewpoints is that you break the reader’s bond with your main character and as a result you end up losing the reader completely. Bad outcome, right? A book killer. Multiple Points of View: Three Golden Rules Fiction is about inner worlds and inner journeys, and you need to respect that. So here are the rules: GOLDEN RULE #1Limit your number of primary characters I’d suggest that, for almost any new novelist, you should not go above three. My first book was a story about three sons, although the sister too had a significant secondary viewpoint. I’d say that count of three-and-a-half viewpoints represents the upper limit for any first novel by all but the most gifted novelists. You can go higher than that. I think of books that run to dozens of viewpoints. But as a place to start? Nope, that kind of thing is too dangerous for 99.9% of you. (And the 0.1% are talented enough, that I don’t really know why they’re reading this!) Your next rule follows from the first: GOLDEN RULE #2Never go more than 3-4 pages before returning to your primary characters. We’ve all watched movies where the leading couple is so incredibly strong that the movie starts to die as soon as one of them is off-screen. Or take that great first series of Homeland, where Carrie (Claire Danes) and Nicholas Brody (Damian Green) had a mesmeric quality together. You could have scenes with both of them in (great!). Or scenes with just one of them in (very good!). But scenes with neither? They flagged very quickly. And sure: you need some filler scenes just to make sense of the story. But if you stay away from your main characters for too long, the book dies. And just because I said “3-4 pages” in the rule above doesn’t mean that you have that much space every time you take a break. You don’t. You need to keep those non-protagonist scenes as short and tight as possible. Three pages is better than four. Two pages is better than three. And our next rule follows from the first two – and from absolutely everything we know about why stories work as they do. GOLDEN RULE #3Every main character (every protagonist) needs their own fully developed story arc. If you use any Point of view repeatedly, the character needs a fully developed inner life, a fully developed arc, a full set of challenges, encounters and personal change – and relevance, too. Is this person relevant to your collective story material? So take my first book, The Money Makers, with its three (and a bit) protagonists. Every single one of those three needed: A motivationA challengeA set of external obstacles (ie: things in the world)A set of internal obstacles (ie: things in their character that blocked them from accomplishing their goals)A crisis, linked to all the things in the list so farA resolution In effect, to write a three-handed story, you have to write three stories, each perfectly structured in their own right. Phew! That sounds like a scary undertaking, and yes, I guess it is. But because a book can be only so long, if you write from three points of view, each one of the stories you are telling can afford to be quite simple – the kind of thing that would seem a bit flat if told on its own. (If you’re a bit worried about fitting it all in then you’ll probably find this blog on chapter lengths and this one on wordcount really useful.) As it happens, I love third person / multiple viewpoint narration almost as much as I love first person. There isn’t a right or a wrong in the choice; it’s only a question of how you want to write and how your story wants to be written. Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community. 

How To Write A Short Story

How to Write a Short Story in 10 Steps - With Examples In this article, Dan Brotzel shares 10 simple steps and practical pointers to help you write shorter fiction, including how to start off and how to end a short story! For about 30 years, I slogged away trying to write a novel. But I just never had the plotting smarts or the emotional stamina, and I became like a madman running again and again at a brick wall, doing the same thing over and over and expecting a different result. Then, one day, and only a couple of decades overdue, I had a rather marvellous thought. You’re used to writing short things – articles, web pages and the like. You’re a sprinter, not a marathon runner. Why don’t you have a go at short fiction?  As a journalist and content writer in my day job, I like a deadline. Deadlines concentrate the mind, deadlines force you to finish things. So I googled ‘short story competitions’ and found that, surprise surprise, there were actually quite a few out there, and all with a deadline. One of my very first attempts won a modest prize (£40, I think) in a competition run by a small press. This was encouraging. I didn’t get anywhere with a story for over a year after that, but that small crumb of validation was enough to tide me over. I started writing more and more stories, and I’ve never really stopped since. I must have written over 100 by now. In 2019, a couple were nominated for the Pushcart Prize anthology in the US. And best of all, in 2020 I published my debut collection of short stories, Hotel du Jack. I love writing short fiction, and I always have several stories on the go. But I’m still interested in getting novels published too, and my first, Work in Progress, a co-authored farcical novel-in-emails about an eccentric writers group, comes out from Unbound in 2021. I’m also putting the finishing touches to another full-length MS, working title The Wolf in the Woods. You may have noticed that I went from failing to finish novels to writing short stories… to finishing novels. And that, I believe, is no accident. Starting on short stories is a great way to build up your writing muscles. You get the satisfaction of structuring, shaping and, above all, completing things. At first, you may find you can’t write anything over 200 or 500 words. But after a while, you suddenly realise that your stories are getting longer and more complex, as you start to experiment with ideas and forms and voices. A short story is often not so different in length and shape from a scene in a novel, or even several scenes strung together. And one day when pondering what to write a short story about, you may find you have a different, chunkier sort of idea, one that requires more than a few thousand words to really do it justice. And maybe that day is the day you start on a novel – which you’ll now have a much better chance of finishing, with all the craft and experience that you’ve developed by completing a slew of shorter pieces. So: in a matter of months, I went from being able to finish nothing fictional to writing scores of stories and regularly getting them featured in competitions and magazines. If you’re looking to get your short-story writing off the ground, I hope these tips and ideas of mine will help you too… How To Write A Short Story In 10 Easy Steps Read widelyGet a great ideaExperiment with techniquesTake inspiration from everyday lifeStart writingAdd more levels to your writingEdit, rework, revise, repeatFocus on your beginning……and your endingRecruit beta readers Short Story: What Is It And Why Is It Special? I’ve always loved short stories. I remember my dad reading me the stories of O’Henry when I was little, studying Maupassant’s contes of the Franco-Prussian war for A level, discovering the (now deeply unfashionable) tales of Updike, marvelling at ‘The Language of Men’ by Norman Mailer and Katherine Mansfield’s ‘The Garden Party.’ ‘Cat Woman,’ Chekhov, the ‘murdered lady’ series of Cathy Ulrich (now collected as Ghosts of You), Aimee Bender, Salinger, Nadine Gordimer, Denis Jonson, Zadie Smith, David Vann… Oh, I could go on. Sometimes I think short fiction is closer to poetry than it is to the novel. The best short stories are little universes of compressed perfection, where every paragraph, every word, every punctuation mark has to earn its place. Short stories can be intricately plotted or they can relate little more than the movements of a mind in conversation with itself on a small domestic topic. They can be all showing or – whisper it – all telling. They can range over years or take place in a lunchtime, relating the end of a friendship or the decline of a civilisation (though the former, if we are honest, is more common). They seem, for some reason, to talk a great deal about death. Short stories can take one tool from the fictional toolkit – voice, character, dialogue, structure, point of view, idea – and major on that, almost to the exclusion of all others. They can talk of boring or obvious topics in fresh ways, or they can deliver great weirdnesses and wild thought experiments. In short, they can do whatever they like. They just have to be true to themselves, and make us believe in them, and not go on for too long. For length, mind, we will need our piece of string. Short stories can be 30 pages long, or they can just be a few paragraphs. If we include flash fiction here – and why wouldn’t we, though it’s almost a whole separate article – we are looking at stories that can be as short as 100 words (technically known as drabbles). There are those who look down on flash fiction, but this I’m afraid is mere ignorance (I can say this with confidence, as I languished in this sort of ignorance myself till not so long ago). Not convinced? Try reading this or this or this or this or some of these. Flash is a distinctive sub-genre of short fiction. It is much harder than it looks, very much not just the offcuts of longer stuff, and the best exponents are very fine writers indeed. How Do You Structure A Short Story? There are many ways to structure a short story. You could have a beginning, a middle and an end. You could have a mini-version of the classic novel structure or one of the seven basic plots. You could have a classic sting in the tale – think of the stories of Roald Dahl or O’Henry or Saki. Or the best way to start a short story might be to just start writing – and see what shape starts to emerge. Often voice or idea is far more important than structure in a short story, and you can often retro-fix the shape once you’ve nailed those essential components first. Because short stories are, well, short, you can sometimes even plan and draft them at the same time. Some stories read almost like anecdotes or well-crafted jokes; others appear to have no obvious plot in a novelistic sense, but are more like tableaux vivants which, like an interesting painting, reveal more meaning and information with every look. In some, like Hemingway’s ‘Hills Like White Elephants,’ nothing really appears to happen; there is talk of ‘an operation’ in a tense conversation between a couple, but the reader has to look between the lines to intuit what’s happening. All this, again, points to the wonderful fluidity and flexibility of the form. One classic way to tell a story is what I call the Pivot structure, where you set one non-human element against another, usually human, event or relationship. Over the course of the story, the non-human element starts to tick away like a metaphor engine for the human element of the story, resonating with different meanings as the narrative develops. For example, I’ve just read ‘Little Tiger’ by JR McMenemie, a beautiful story told from the point of view of two children who have just lost their gran. Their Mum is upset at having lost her Mum, and Dad is trying to comfort her. The kids have never been to a funeral before, and returning to their house in the aftermath is clearly a very unsettling experience for all. Mum engages in some aggressive tidying up, while Dad – who is struggling to juggle the competing claims of his children and his wife – starts laying a little heavily into the booze. Then, all of a sudden, the kids find a butterfly, sitting on top of a picture of a beach where they all spent many holidays with gran. This is odd, as in the story it’s February, in northern England. The children feed the butterfly some banana, and are keen to make a pet of it. All of a sudden, Mum announces that the butterfly is her Mum, come back to say goodbye. In the morning, however, the kids wake to discover that the butterfly is gone; Dad explains that they couldn’t really keep it. Do you really think the butterfly was Nan? they ask. The story ends with Dad’s reply: ‘I don’t know, son. It could have been. Your mum says some funny things sometimes. All I’m saying is that your grandma didn’t like bananas.’ This crude, simplified summary doesn’t begin to do justice to the patient, emotionally intelligent storytelling of the piece, but you can see that the butterfly acts as a pivot on which the whole story can keep turning. It is, by turns, a distraction, a projection of grief, potential proof of an afterlife, an emblem of marital devotion and, in its release, a key to the processing of loss and the attainment of a certain understated resilience. Do we live on after we die? Dad is doubtful, but he loves his wife and sees no value in challenging her theory. And she, in her turn, aching with love for her absent mum, can be forgiven a little magical thinking. If, indeed, it is magical: who, after all, can be certain that she is wrong? 10 Steps To Writing A Short Story, With Examples 1. Forage The World For Story Starters One of the attractive things about writing short stories, as opposed to longer stuff, is that you don’t need to work out a fully-fleshed outline, snowflake-style or otherwise, in order to get started. Nor do you need oodles of background words about characters, stakes, setting, timeframe and so on. You just need an idea. And that idea doesn’t even need to be an idea in the grand sense either; it can just be a prompt. It might just be a chance remark you overheard on a bus, a funny ornament in a front garden you pass every day, an odd-looking chap you spot on a holiday beach, a sudden childhood memory. It might be a smell or a view or a colour; it might be a thought triggered by a film or a radio programme or a children’s book. Of course, it might also be a break-up you’ve never got over, a terrible act of cruelty you once witnessed, or a historical event that has always had a special resonance for you. When you start, you won’t necessarily know what’s a story-worthy idea and what isn’t. So the first thing to do is to cultivate the habit of looking and listening, both to the outside world and to the things that bubble up in your mind. Now this might sound easy, but often it defeats people because they can’t believe it will ever get them to a finished story. We sometimes envision creativity as this wonderfully crazed, instinctive outpouring, whereas this note-taking business feels like something rather dull and premeditated. But your notebook, whatever form it takes, is where all the raw data of your stories will start to emerge. No data: no stories. So you have to get into the habit of jotting things down, and trusting that this is a worthwhile thing to do, and just repeatedly doing it even if you don’t really believe that yet, even when your first efforts are just dreadful callow things like So here I am writing in this book or Milk, wipes, olive oil. Post office! As with a half-used tube of toothpaste, you sometimes have to squeeze the crud out to get to the good stuff. For inspiration, try Morning Pages – as popularised by Natalie Goldberg, Julia Cameron and others. Basically, you sit down at the start of your writing session – it doesn’t even have to be morning! – and you just write down whatever comes into your head for 10 minutes. Don’t censor what pops up – just record your thoughts. You might be amazed what occurs – shopping lists, dreams, the fag-end of a row with your partner, a glimpse of a first crush, childhood memories, strange bits of wordplay, spiritual reflections, a person in your life you haven’t thought about for ages… It’s all good, and it could all get used somewhere in your fiction. Just as the stand-up sees the world as a bunch of set-ups waiting for a punchline, so the short-fiction writer sees the world as a bunch of prompts waiting for a good story. 2. Go With The Idea That Tingles My Dad always said that he could tell a really good piece of cheese because it gave him a funny tingly feeling behind the ears. I spent much of my childhood trying (and failing) to experience this elusive dairy-led sensation. But I do at least get the tingle when it comes to stories. Over time, you’ll start to look at the bits of mental flotsam in your notebook, and you may find there’s a phrase or an anecdote or an image that you keep coming back to. When that happens, you may well have the first tinglings of a story on your hands. From time to time I go back through my notebooks and highlight bits of scribble that I think I might be able to use. Sometimes it’s a setting. My story ‘The Beach Shop’ in Hotel du Jack, for example, about a heartbroken man stalking his ex-wife on her holiday, was inspired by my early-morning stops at a cafe on a French campsite. I loved the locale, and just started writing about it till a story came. Sometimes – often in my case – it’s a bit of anecdotal autobiography. My story ‘Plane-spotting‘ was inspired by reading a story to my young son about an airport where all the planes are animals. I thought it would be funny if the Dad was a real aviation nerd, increasingly infuriated by the inaccuracy of the drawings, and it just went from there. With the flash ‘Eau de l’avenir,’ the inspiration was a smell – or rather, a scent. To give one more example of how ideas turn into stories, George Saunders says his flash fiction ‘Sticks’ came from something he saw from his car every day. ‘For two years I’d been driving past a house like the one in the story, imagining the owner as a man more joyful and self-possessed and less self-conscious than myself. Then one day I got sick of him and invented his opposite, and there was the story.’ When you note down stuff, you don’t know if you’ll ever use it, or if you’ll end up using it several times. You may use it in a way that’s a complete betrayal of the original memory. You may dredge it up again, years later, and forget you ever jotted it down in the first place. It doesn’t matter: you’ve got it down now, and it’s adding to your imaginative store. It’s all good. 3. Try A Thought Experiment Another way to approach a story is to ask yourself: What if…? What if supermarket shelf-fillers and nurses were the most celebrated and best-paid members of society, and celebrities and lawyers were considered the lowest of the low? What if an epidemic of kindness broke out in the world – Agapia-117, let’s call it – and threatened the stranglehold of capitalism, with its built-in systemic reliance on rabid self-interest? (Just riffing here, obvs.) These kinds of story offer you a rich counterfactual challenge. Depending on the challenge, you might offer the reader the pleasure of watching an unexpected idea play out, or you might challenge yourself to pull off a narrative feat that the reader doesn’t know about until the end: What if (to cite a notorious example) you could tell me a whole story that turns out in the end to have been narrated by a cat? What if you wrote an alien contact story, only for us to realise at the end that the narrator lives on another planet, and the ‘aliens’ are actually humans from earth? The idea for my story, ‘Nothing So Blue,’ came to me when I asked my son for ideas of what I could write about. ‘Write about becoming invisible,’ he said. Now sci-fi isn’t really my thing, but then I thought: ‘What if you were granted a superpower, and it turned out to be a bit rubbish?’ Now that, I thought, was very much more my thing. A great example of the thought-experiment approach is ‘The Rememberer’, by Aimee Bender: ‘My lover is experiencing reverse evolution. I tell no one. I don’t know how it happened, only that one day he was my lover and the next he was some kind of ape. It’s been a month, and now he’s a sea turtle.’ 4. Borrow A Form From Everyday Life Structure doesn’t come naturally to us all (guilty), but an easy way to get round that is to give yourself a nice constrained timeframe, such as the hours of a day or the seven days of a week. I use this structure in a few of my stories, notably the title track of Hotel du Jack, because it offers a natural scale of narrative progression. On Monday, we meet the cast of the story and get a sense of what’s at stake. On Tuesday the first signs of conflict emerge. Wednesday sees problems escalate, Thursday brings a false dawn, and on Friday things really kick off. Saturday is the day the crisis resolves and the loose ends are tied up, and Sunday has that nice sort of epilogue feel to it. It is the day, as Craig David tells it, on which one chills; the day one rests after creating a world. You might choose a lunch-hour, or a night, as Helen Simpson does with her insomniac narrator in ‘Erewhon’ (collected in Constitutional), a man in a roles-reversed world who stays up worrying about kids and money and sexism while his high-powered wife lies snoring indifferently next to him. It could be a date or a work meeting or a conversation between dads at the side of a junior football match, where the competitive nature of the chat echoes the changing fortunes of their kids’ respective teams and the climax of the story coincides with the final whistle. Taking this idea a step further, hermit-crab fictions – also known as borrowed forms – are stories that are made out of everyday verbal templates. The more banal the form, the better – think product reviews, missing-person reports, recipes, maths problems, listicles, top tips, user instructions… The trick is to try to stick quite closely to the structure you’re stealing, so that the story you tell will seem even wilder or more heartbreaking by contrast with its dull container. As you go through your day, you’ll come across thousands of these dead bits of copy – from insurance letters to FAQs to parish newsletters. Choose one, and make it your own. I’ve written hermit-crab stories in the form of a shopping list, board game rules, FAQs and even a penalty charge notice. In Hotel du Jack, you’ll also find a ghost story told as a neighbourhood forum thread, a reflection on #metoo in the form of board meeting minutes, a meditation on grief in the form of a dishwasher glossary, and a product recall notification. Another story, ‘Active and passive voice’, dissects a flawed relationship through the structure of a grammar lesson. Meanwhile ‘My Mummy is…‘ was written – out of a sense of profound inadequacy – just after I’d read a book with my 5-year-old son at school entitled My Daddy is a Firefighter. One of my favourites pieces of flash fiction, LIFECOLOR INDOOR LATEX PAINTS® – WHITES AND REDS by Kristen Ploetz, manages to condense an entire life into a trio of paint palettes. George Saunders has a lot of fun with this response to a customer complaint. Here’s a story of long-term love that’s also a 5-star blender review. And this story is just receipts. If you’d like to read more hermit-crab narratives, here’s a couple of great anthologies to inspire you: Fakes by David Shields and Matthew Vollmer, and The Shell Game, edited by Kim Adrian. 5. Start Writing If you’ve got a prompt that feels rich and interesting – whether it’s a vague memory or a thought experiment or a borrowed form – the next thing to do is not worry about how to write a good beginning of a story, and just get something down. My process at this point is crude: just bang a first draft out. If you have an idea that feels like a start, get it down and start playing around with what happens next. If you have an idea that feels like an ending, get it down and think about how your story might get you there. But do the thinking by actual writing. This is not a drill! And this is not a novel. Just write. As you go along, the idea will start to build and coalesce, especially as, remember, you chose something that’s already glowing and tingling for you. As the juices start flowing, you will start to see possibilities open out for you – structural bridges, snippets of dialogue, observations that you sense suddenly belong somewhere within the fabric of your story’s world. You can start to put in little headers too, little pegs to mark out future sections. Jot all these extra thoughts at the bottom of your doc, keep typing, and fold them in as you go. Sometimes, as the story starts to flow, you may get stuck on one bit but can start to see how a later section would work. Go with the flow, and start filling in that later section instead – just leave yourself some meta-notes for the bits you need to come back to later e.g. insert scene where elephant appears for first time or add in funeral-home bit here to explain why Moira’s always hated lilies. The same process also works at a micro-level, too. Often your ideas for the story run ahead of how quickly you can phrase things. Thinking about the broad contours of your story and fine-tuning phraseology are different creative tasks, and it’s not always easy or efficient to flit between the two. Don’t waste time waiting for the mot juste to arrive – just put in a bit placeholder copy or add some “xxxxxxxxxxxs,” and move on. Just get the broad brushstrokes down, and then you can go back and finesse the detail later. I guess the approach I’m advocating here is a bit like ‘writing by the lights,’ a phrase that inevitably takes us back to a line from EL Doctorow: ‘Writing is like driving at night in the fog. You can only see as far as your headlights, but you can make the whole trip that way.’ Sometimes the idea you have is a perfect little synopsis, and all (!) you have to do now to flesh it out in a way that does justice to the conception. Sometimes you just have an opening scene, or an image, or a character to work with, and you have to build the rest of the world around them. But the remedy is the same in every case: get that first draft down. The more stories you write, the more you get a sense of the optimum length for a particular piece. Some short stories are almost like extended gags; they go out and back in a simple anecdotal arc that culminates in a snappy zinger. Others require patience and stamina to deliver their potential. Their form might be much more complex: a spiral, a mosaic, a musical symphony of contrasting and resolving themes. But the best way to build up to writing complex stories is to start by completing simpler ones. And the best way to complete a story is get a first draft down fast. Then the real work can begin. 6. Work In Another Level A satisfying story can usually be read on more than one level. There is the surface level, and then there is a sense of an underlying meaning. If your story is to feel like more than a mere skit or vignette, we want to have a sense that there is another perspective, a subtext, a theme that’s whirring away in the background as we read. I’m not suggesting that you start with a grand theme and try and mould a story to it; that will usually lead you somewhere strained and leaden. I just mean that when you write your story, you want to have an eye on how others will find it interesting or meaningful. You don’t have to have a pat answer to this question, quite the opposite in fact. Where novels often build up to an accumulated truth, the best stories often have an inconclusive, open-ended quality. Often in life, when you think about it, we are working through familiar challenges and conflicts in a variety of different guises and permutations: freedom versus commitment, future hopes versus mortality, child versus parent, addiction versus abstention, ego versus altruism – the list is endless. What short stories often do is replay one of these central conflicts for us in a way that is both very specific – involving particular individuals in detailed interactions – but also has a timeless, universalising feel to it. Life is ambiguity, and things rarely get resolved. So, as your story takes shape, ask yourself: which pattern am I enacting here? This might sound a bit complex, but really it’s very simple, because every story we tell inevitably has the potential to speak beyond its own obvious remit; the trick is just to polish your words in the light of their wider applicability. As you start to get your story down, have an eye on the meanings and themes that emerge with it, and shape your material accordingly. You don’t have to be able to say what the story is really about; you just need to leave enough space and enough interesting glimmers for the reader to want to fill in the blanks. Take, for example, Conrad’s ‘The Secret Sharer.‘ This rich and subtle tale is full of nautical detail and has the feel of being based on a true incident, lightly fictionalised. But Conrad is careful throughout to dial up the elements we can all relate to: the fear of not being good enough, the loneliness of command, the terror of being brave, and so on. Katherine Mansfield’s ‘The Fly’ – as well as being a pair of beautifully observed little scenes – speaks to us about bereavement, and the agony of a loss which can no longer even find expression. And in retrospect, we see that JD Salinger’s ‘A Perfect Day for Bananafish’ – for all its enjoyable elements of comedy and social satire – speaks also to the corrosive effects of trauma and the inadequacy of our responses to it. 7. Edit. Revise. Rework. Repeat. Writing, as so many have said, is re-writing. Now that you have a rough draft down, the real work can begin, as you hone and polish and finesse your story into the best story it can be, and remove in the process all avoidable friction from the reading process. A few pointers: Look hard at the movement and logic of the story. Read the story out loud to yourself, and see if it makes good narrative sense. Is the middle soggy? Are there any tedious info dumps? Is there too much telling at the expense of showing? Is there a good balance between different sections and viewpoints (if you have more than one)? Is the story long enough, or do you rush to the conclusion and throw the ending away?Look out for redundancies. Strip away phrases, sentences and even sections that don’t add anything to the mood or voice or development of the story. Murder your darlings – all those bits (phrases, plot points, devices etc) that you’re really fond of but don’t really fit into the texture of the story you have developed.Add in clarifications and bridges. Editing isn’t just taking things away. Sometimes it’s about adding things too. If a transition between two sections isn’t clear, or your intro throws up a commonsensical question that you don’t ever answer, the reader will be too busy scratching their head to fully appreciate your story. Sometimes just a clarifying phrase here or a subtle time or place reference there can be all it takes.Look for words and phrases that you know you over-use. I’m a sucker for ‘suddenly,’ ‘seemed,’ ‘now’ and ‘screenwash’. I have certain pet thoughts and jokes that, if left to my own devices, I will happily try and shoehorn into everything I write. Watch out for ‘had’ too – if half your story is in the form of a past-perfect flashback, that’s probably going to be a problem. See more tips on self-editing here. 8. Look Extra Hard at Your Start… The start of your story needs to work hard to lure us into the world of your narrative. It must intrigue us from the off. We want to feel instantly that we are in an interesting place, where interesting things may happen, and that we can trust and enjoy the person who is telling us about them. Ambiguity, cliche, long-windedness, unnecessary cleverness – these can all spell death to a good intro. You might start with an intriguing hook (‘In the beginning, Sanford Carter was ashamed of becoming an Army cook’ – ‘The Language of Men’, by Norman Mailer.) You might set the scene with a sweep of historical backdrop (‘Paris was blockaded, starved, in its death agony’ – ‘Deux Amis’, by Maupassant.) Or you might start by setting the rules of the world, as in ‘By the Waters of Babylon’ by Stephen Vincent Benét, in a way that has the reader wondering from the very start what will happen if one is broken: ‘The north and the west and the south are good hunting ground, but it is forbidden to go east. It is forbidden to go to any of the Dead Places except to search for metal and then he who touches the metal must be a priest or the son of a priest.’ Naturally I am instantly curious about what happens if I head east. And the Dead Places? These are things I need to know about. For more on this topic, see my 10 examples of how to start a short story. 9. …And Look Extra Hard at Your Ending You need to bring your story to a conclusion in a satisfying way that is of a piece with the style and mood of the narrative that you have created. If you have written a taut, sting-in-the-tale mystery, the ending should close things off with a satisfying snap that tells us the case is closed and justice – consistent in some way or other with the internal logic of your piece – has been served. A story that is more reflective and interior in tone, on the other hand, will ideally finish with a line that adds a new perspective or dimension to our understanding of the whole, and keeps rippling and resonating in the reader’s mind long after they have finished reading. The ending can be a shock to the system that makes sense of everything that’s gone before; ‘A Perfect Day for Bananafish’ is an obvious and powerful example of this. Or it can zoom away from the action, just as a camera takes leave of its subject. Or it can inject a twist that calls into doubt everything you’ve read so far. It can sometimes be read two different ways, leaving the reader to work out their own ending. And it can of course just show that the world keeps on turning. My ‘Ella G in a Country Churchyard’, for example, brings a story of an uncomfortable parent-child conversation about mortality to a close with the Dad asking: ‘Ready for some sausages?’ This could be seen as an evasion, but then again there are no adequate answers to the girl’s impossible questions about what happens when we die. Life goes on, and it is almost teatime. 10. Get Another View Don’t send out the story to any magazine or competition until someone else has read it and fed back to you. And not just anyone, but someone whose judgement you respect, and who can give a candid take on what’s working and what isn’t. You may have a trusted beta reader – perhaps your partner, or a relative or friend – who always reads your stuff, or you may get feedback from a Facebook group. And of course there’s the Townhouse. These are great resources, but in my experience nothing beats being part of a real-life writers’ group. In a writers’ group, you’ll have the experience of reading your words to others – itself often very instructive, as you can often sense where the story is working and where it’s dragging just from the quality of attention in the room. And you’ll get constructive, practical feedback from people who are dealing with the same challenges, albeit from different perspectives and genres. Short stories lend themselves particularly well to group critique, because they are often just the right length to read in full. No doubt there will be feedback – from yourself as well as from others – and you will need to decide which bits you want to act on and which, not: learning the difference is a lifetime’s work. Inevitably you will find yourself returning to step 7, and perhaps steps 8 and 9 too, but that’s no bad thing. Writing is re-writing, remember. How Do You Write A Short Story in One Day? Can you Write A Short Story in One Day? Yes! It’s perfectly possible to write a story in a day, or less. Sometimes, when you get a great idea, the piece – especially it’s a flash or shorter fiction – may emerge fully formed. That’s not to say you’ve only been working on it that day – in my case, a story might get drafted in a couple of hours that I’ve been turning over in the back of my mind for a couple of years. And that’s not to say it’ll be the final version either. While you might be able to complete the draft in a day, it’s always wise to sleep on it and come back to it next day, to review and revise, and to get some other people’s feedback too. Publishing Your Short Story So, you’ve written your short story, but what next? There are loads of litmags and competitions out there. Many of the editors and organisers are aspiring writers themselves, and can be wonderfully supportive with feedback even when they’re not able to accept your story. You can find useful lists here, here and here. Sometimes there’s a prompt or a theme, which can be a great help when you’re stuck for an idea. With magazines, take some time to read a few stories and get a feel for what they like, and whether you’d be a good fit. Simultaneous submissions are generally acceptable, especially as it can take months to get a response (just make sure you let them know if you get accepted elsewhere). Before you enter, always read the requirements carefully, and get the formatting and labelling right. Have lots of stories on the go, so you move on when you get stuck. ‘At any given moment, I have a half-dozen story ideas shelved in my mind,’ says Benjamin Percy, author of the collections The Language of Elk and Refresh, Refresh. ‘I always choose to write the one that glows brightest.’ Above all, don’t be afraid to keep submitting. For most of us, rejection is the norm and an acceptance is the exception. The more you submit, the luckier you’ll get, and the less those rejections will sting. You can do this! Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community. 

7 Tips For Writing A Thriller Novel

With numerous successful novels to her name, guest author and blogger Eve Seymour has cemented herself as a master of the thriller genre. In this post, Eve shares her secrets for writing a thriller you just can’t put down. 1: Focus On Characterisation Whatever the genre, strong, memorable main protagonists are important.  In thriller writing, they are absolutely vital and can make or break a story.  Irrespective of gender, if your main player lacks the tenacity and determination to crack the code or conspiracy, locate the kidnap victim or hunt a murderer, he is pretty much sunk before that opening chapter is penned.  So if your main player would rather file his/her nails, watch sport on TV, or stay in bed, think again. In a similar vein, boredom and cynicism are no defence for inactivity and ‘seeing how things pan out.’  The main protagonist needs to at least make a stab at being in control of events, rather than behind the curve, even if he fails due to the many obstacles thrown in his path. Notwithstanding all of the above, there’s no need for your central character to be an angel.  Crime fiction and thrillers are littered with flawed individuals.  Drink and relationship problems, sometimes inextricably linked, and failure to commit are popular attributes.  It’s easier for readers to empathise with characters who have identifiable weaknesses and failures and who, at times, seem just like us.  Recently, there’s been a trend towards characters that are morally ambiguous.  This can be a thorny path to tread for the new writer and requires the utmost skill to pull off.   Probably best not discussed here. It may be stating the obvious, but an octogenarian with a limp isn’t going to cut it with the bad guys.  The obvious simple fix is to ensure that your main man (or woman) is young enough or fit enough to run like hell – even if in the opposite direction.  More importantly, they must be smart.  This does not mean they are members of MENSA, but they do need to be bright and have a measure of psychological insight, (which means that writers need to too).  Street cunning and being able to think outside the proverbial box also goes a long way to defeat enemies of whatever persuasion. Which brings me to those pesky ‘bad guys.’ It’s not enough to refer to shadowy dark forces doing dastardly things in dungeons.  Give your foe a face.  Let the reader hear an antagonist’s voice, see how he behaves, take a trip inside his mind and let’s hope it terrifies because a main protagonist is only as ever good as the main villain.  This is where a writer can really pull out all the stops.  Seems easy, doesn’t it?  And yet, to avoid stereotype and caricature, coming up with convincing antagonists is harder than it sounds.   The best way to avoid obvious pitfalls is to ensure that your bad guy or femme fatale ticks with his or her own internal logic, even if he/she seems nuts to the rest of us.  How to do this?  Look at motivation and backstory, and ensure both are watertight and credible. 2: Create Plausible Characters Still on the subject of characterisation, there’s a school of thought that writers somehow have to choose between characterisation, or plot.  In truth, the two are indivisible because, although a story can unfold in a variety of ways, these are self-limiting due to the particular attributes of character. To take a facile example: say your main guy is an estate agent.  He’s unlikely to grab an MP5, eliminate the opposition, board a helicopter, grab the controls (and the girl) and fly off into the great blue yonder even if this is to suit the purposes of plot. While coincidence occurs in real life, it’s harder to pull off in fiction and yet often writers will write characters that just happen to be on the right street at the right time, enabling them to randomly carry out an action critical to the story.  Sounds vague?  That’s because it is. While coincidences can occur at the beginning of a story – a killer claps eyes on his victim  – random events fare less well if dumped into the plot mid-way.   The obvious faux pas is when a random event occurs to get the writer out of a hole, a classic case of Deus Ex Machina.  When applied to an ending, the result can be excruciating. 3: Ensure Every Scene Contains A Plot Twist When creating a scene, ensure that you give enough away to compel the reader to keep turning those pages, or clicking the side of a Kindle.  While you might be able to confine this to a minimum number in other genres, in thrillers there’s a requirement for numerous ‘turning points’ or revelations to sustain the narrative and guarantee exceptional pace and tension.  If a scene doesn’t ‘turn’, then, as brutal as it is, it has to go. After all, plot twists are an essential part of the thriller genre, and they are particularly crucial in psychological thrillers. It’s known as ‘murdering your little darlings’, and nobody likes blood on their hands.  It can be dispiriting to chop lovingly written material, containing tons of detail and exposition, but, sadly, no ‘turning points’. However, information alone won’t cut it. Everything must be relevant to the main thrust of the story.  If your main man is en route to question a potential suspect, he’s not going to drop into Costa for a coffee and baguette en route, or spend time discussing Christmas plans or his next salsa class with his best mate first.  It’s really tough to excise a perfectly decent or beautifully written scene but if it doesn’t drive the story forward, your best option is to hit the delete button. A good tip when creating a scene is to think about the situation in which the main protagonist finds himself.  Simplistically, if things are going roughly his way, then mix things up and throw in a few obstacles so that, as the plot develops and he makes more discoveries (relevant to the main plot line), his situation turns from not too bad to not too good.  The reverse also works (to a point).  With more and more (hopefully grim) revelations, and pressure put on your main protagonist, clearly the ‘bad days’ will outnumber the ‘good days’, as he finds himself boxed more and more into a corner.  If you do this, before you know it, tension will be as taut as cheese wire. 4. Avoid Superfluous Exposition (An Instant Pace-slower) This is really the incestuous cousin of the above.  Some writers are natural scene-setters.  They love the build up.  They love description – and they are very good at it.  That’s grand and most definitely has its place but it cannot be a substitute for telling the story, or a delaying tactic for ‘getting on with it’. ‘Cut to the chase’ is one of my most overused pleas.  The trick is to understand what’s important and what isn’t.   Nine times out of ten, less is more.  This particularly applies to the writer who ‘overwrites’ or ‘covers old ground’. More often than not, this will occur around the halfway mark and it usually signifies that the plot is in trouble and the author has run out of steam.  As a basic rule, if the reader is made aware, for example, that great aunt Ida is a bit of a cow, there is no need to remind the reader at any and every opportunity.  We get it. Aside from resisting the urge to bash the reader over the head with something already well established in the text, there is a very good reason for heeding this advice.  Superfluous exposition has a deadly effect on pace, suspense, and tension.  Before you know it, the reader will be thinking about what’s for dinner and whether there’s time to nip to the gym.  A good way to avoid the story running into ‘snooze time’ is to read it aloud.  If you start to flag after a chapter or two, the reader stands no chance. 5: Avoid Dreams, Memories, Recollections And Flashbacks Unless applied with exceptional skill to ‘turn’ a scene, in which case they can be used for dramatic effect, these are instant pace-slowers. For some reason writers can be quite taken with dream sequences and recollections. Perhaps it’s the freedom to go ‘off piste.’ Scenic detours, like these, may well work in other genres, but in thrillers, when focus is a key issue, they can overshoot their intended destination. Not only do they interfere with strong narrative drive in what must be a fast moving plot line, they puncture tension. As mentioned, there is an exception to the ‘rule’. A flashback or recollection might emerge during the last third of a novel when a character suddenly remembers something that has a bearing on current events. If used within the climactic scene, they can be used to stunning effect because they throw an original and illuminating light on the denouement. It’s a cliché but, for example, if good guy comes face to face with bad guy, and is about to kill him in self-defence, the good guy might recollect to playing with his (missing) brother as a kid, and recognise the birthmark on his arm. The effect on the reader should be an emotional one, i.e., ‘Blimey, didn’t see that one coming.’ 6: Collect Two Types Of Research: ‘Nuts And Bolts’ And Emotional Both are essential for authenticity and quite distinct from each other.  ‘Nuts and bolts’ might be research into police procedure, forensics or ballistics, and all the permutations in between.  Imagination will only carry you so far. Basically, you can’t take the procedure out of the police procedural, or the military out of the action adventure.   Today’s crime readers are so sophisticated that they can sniff out lack of authenticity at fifty paces.  Many will give the average crime or thriller writer a run for his or her money when it comes to knowledge.  Unless you’re an ex-con, intelligence officer, police officer, in the military, with inside knowledge at your fingertips, you’ll need to get out and about and research. Google is a good starting point, but if we all write according to the Gospel according to St. Google, then our stories will wind up with same or similar shout-lines.  I’m a fan of multiple sources.  If you have a library, use it to check out your chosen subject.  But, and it’s a big one, nothing beats approaching people ‘in the know.’  Most folk respond to a friendly and polite approach, especially if the ‘help’ word is applied.  While I wouldn’t suggest rocking up at your local police station to bend ears, there are other avenues to pursue, via police press officers. If you’re really stumped, there are now plenty of recently retired police officers that, for a fee, will walk you through an investigation.  Similarly, pathologists, ballistics experts and crime scene examiners are normally happy to talk about their favourite subject. If you can ferret out a tame source, you’ll get a feel for how things roll.  In the interests of research, I’ve flown in helicopters, spent a memorable evening with firearms officers in a laser-simulated training suite, flown to Berlin and Barcelona, both for location hunts, and talked to people working at the United Nations and those connected to various charities involved with refugees and victims of war. All this comes with a warning:  if you’ve spent your hard-earned money on obtaining information or oceans of time fact finding, there is a temptation to slay the reader with your newly acquired fund of knowledge.   This is where I refer you back to point number 4.  A few books ago, an editor once told me:  ‘This is really interesting, Eve, but it doesn’t add anything to your story.  Cut.’ I did.  Lesson learned. ‘Write what you know’ is a well-used, and occasionally misunderstood, phrase. While we may all believe that our existences are thrilling, not many of us lead the kind of lives that will translate easily into great page-turning thrillers.  So what does ‘write what you know’ really mean?  It means you draw on personal emotional experience.  Just saying someone is sad or angry won’t cut it. This is where emotional research comes in. All writers are amateur psychologists.  We need to know how people tick and how they respond.  While you might not experience what it’s like to be shot at, you will know what fear feels like, just like you’ll know how it feels to have loved and lost, loved and found the woman or man of your dreams, got the job you always wanted, failed to get the job you always wanted, passed your driving test, or failed it for the millionth time and, dare I say, obtain agent representation after slogging away for years, or feel the cutting pain associated with your umpteenth rejection. In essence, we all know what it’s like to feel lonely and unhappy, elated and sad, frustrated and angry and everything in between. These are the emotions you draw on for your characters so that, when you describe them, they are a true representation. ‘Okay,’ you might say, ‘I can do all of the above, but how do I write about something well outside my sphere of experience, for example, the trauma associated with violent crime, either as perpetrator or victim?’ Simply put, it’s hard to avoid cliché, stereotype, and melodrama when tapping into trauma, if you have no direct experience of it.  Again, crime readers are bloodhounds at spotting false notes.  Best advice is to, firstly, ensure that the stakes are raised high in your story so that characters are forced to grapple with powerful, life-on-the-line events.  Be bold in this regard.  Think of the worst that can happen to your character then make sure it does.  This way, you’ll ensure that your characters are properly motivated to respond truthfully. Sneak right under their skins and imagine the extremes of human behaviour and what it does to people.  But, before you do this, climb under your own skin and dig deep.  You may well be surprised, maybe even shocked, at what you find loitering beneath.  Whatever you unearth, this is what you use as a foundation for your character’s response. If this doesn’t work, you could always try a more ‘nuts and bolts’ approach, and talk to a psychologist or someone trained to help people who have encountered tragedy in their lives. 7: Take A Big Breath And Read Aloud You’re a writer.  You love stories.  You’re interested in words and their correct spelling.  You go all tingly when your sentences flow and convey your magical  (or should I say your diabolical) world.  So ensure you take the time to read the entire manuscript aloud to pick up on pesky typos, clumsy sentences, repeat words in consecutive sentences, verbal ‘tics’, punctuation and grammatical errors, and mysterious verb tense changes.  Avert your eyes now if you are of a sensitive nature. In three words:  ‘This.  Stuff.  Matters.’ And it’s no good thinking that you can wing it. If you don’t know the difference between ‘there’, ‘their’ and ‘they’re,’ or ‘where’ and ‘were’, do yourself a favour and learn.  On occasion I’ve been told that ‘Agent Bloggs will be so knocked out by the story, it won’t matter …’, and ‘The copy-editor will fix it …’, as if he or she has a handy magic wand with which to transform your less than perfectly polished prose. Agents receive so many submissions they can afford to be picky.  If your lovingly crafted story is set aside due to a multiplicity of errors on the first page, it stands no chance of reaching the fairy copy-editor.  Your hard work would be wasted. And that would be a shame. Very best of luck. Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community. 

Writing A Book For The First Time – Tips

If you’re writing a book for the first time, it’s good to have the tips and writing steps you need in one place. Here are our advice pages on all aspects of novel-writing and the many different ways to write a good book. How To Have Ideas And Inspiration Nothing is harder to come by than inspiration, and it’s not enough to be inspired, you need a concept a publisher is also likely to get excited by. Coming up with ideasHow to write your elevator pitch9 tips to conquer writers’ blockHow to find inspiration for your writingHow to become a better writer Story, Plot And Pacing Your book’s heart is its story. Get it wrong and your book will not be saleable. Our advice: How to plan a novel: a plot structure templateHow to chart your plot mountain or plot diagram for momentumHow to write seven basic plotsFreytag’s pyramid: understanding dramatic structure and applying it to your own narrativeWriting a three act structureHow to write a compelling plot twist Character Any good story needs strong, convincing characters to populate it. Even if you’re writing a true story (a memoir, for example), you need to bring your characters to life on the page. Here’s how to do it: Characterisation and character developmentHow to develop characters and inner worlds in fictionHow to write characters (not clichés)How to write different points of viewHow to show, don’t tell, in writingWhat is a foil character?How to create a character bio templateWhat are secondary characters?How mannerisms can create memorable charactersThe 12 character archetypesAnti-hero vs villain: a complete guideProtagonist vs antagonistRound vs flat characters Prose Style And Editing Your Work Sentences need to matter as much to you as paint does to a painter. And remember that good writing is usually good re-writing, so be prepared to put in the hours. Our guides: Your writing style checklist The omniscient narrator: all you need to knowHow to self-edit your draftHow to write dialogue in fictionThe hero\'s journeyHow to write setting and spaceWhat is purple prose?How to eliminate passive voice from your writingHow to present your manuscriptWhat is copyediting? Next Steps Have we remembered to mention that writing a book for the first time is quite hard? Help is at hand, if you need it from us. Get editorial feedback on your work. We work with partial manuscripts, as well as complete ones.Try a writing course. Our courses are online, so you’ll be able to work around commitments.Come to our events like the Festival of Writing to meet literary agents in person and pitch your manuscript. Signing up to our mailing lists you’ll be first to hear announcements. Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community. 

Ideas for Writing a Book (and How to Develop Them)

We once got a strange email. It was three lines long, from someone telling us he wanted to write a book. OK. That’s great. The email wasn’t written very well. The spelling wasn’t great. The punctuation – uh – had all fallen off. But none of that was the issue on his mind. His email was simply entitled “Book Ideas“, and he was writing to ask for help. In a word, he wanted us to develop his ideas for writing a book. And here was the thing. He was sure he was a good writer, which is great, but he hadn’t actually written anything. Worse still, he said he didn’t have a single idea for a story, so could we maybe give him one? Right. Yes. I’m sure that’s how Herman Melville got started too. But the fact is, all of us know what it feels like to feel uninspired and stuck in a rut when ideas just won’t come. And this post is all about solving that problem, showing you how to get started writing a book, and how to come up with ideas. Where do ideas for a book come from? How do you know if they’re any good? And how can you take your existing ideas and make them better? Big questions, but let’s see what we can do to help. What follows is a simple way to generate good quality ideas that work for you. We know they’re going to work for you, because the ideas come from you. In fact, you already have them in your head right now. All we’re going to do is help you find them. Let’s start. Book Ideas: How To Get Them And What To Do Next Note down your ideas – your daydreams, interests, favourite booksLearn the market by reading your genreStart developing your ideas, jotting down what you know about your future bookGive your ideas time to develop – don’t rush it!Work on your writing skills and technique How To Have Ideas: The Good News Consider this. It’s not a question of forming the idea, but of recognising one (or ones) you already have, so let’s do that. Make lists of: Things you daydream about;Your special interests (medieval churches, IT security, tattoos);Your areas of expertise;Your current passions (things that get you off on a rant or long-winded explanations);Things you loved as a child (amazing how often the child seems to predict the adult, so look back, see what you loved in the past);Books you loved as a child;Books you love now. Write actual lists of these things. Not in one single half hour session, but bit by bit, over time. Let things stew, bubble up. Almost certainly, you’ll find something nagging at you. Something that stays with you after you leave your lists. That there is your idea. Good, huh? But stick with us. We’ve only just got started. How To Handle Ideas For Books (What To Expect) The trouble with inspiration is it never arrives fully formed. Writing is messy. Few novels arrive complete. Most have had to be hacked out of rock. It’s okay, though, if you decide development is easy and fun, and remember ideas take time. You don’t get from nowhere to perfect in one leap. It’s not a generator. It’s an incubator. You don’t find your idea. You grow it. We’ll talk a little more about that shortly but first, ask yourself. Is your book idea any good? Be sure your idea is strong enough to carry you to publication before you start writing. There are techniques for (a) figuring out if your idea is strong enough and (b) adding sparkle to it if it isn’t, fortunately. Learn The Market Read the area, niche, genre in which you are going to write. Read widely. Stay current. Know new names, not just old ones. It’s a massive mistake not to do this, and many new writers don’t. You should, because these are the books your ideal readership is reading. Start Developing Get a sheet of paper and write down what you know about your future book, or interests you’d like your story to make room for, to explore. That might be very little at first. It might be no more than: Antarctic settingSeismologySecret weapons testing That has no characters, no plot arc, no meaningful line of development, but it’s a start. Not just that, but it’s an exciting one. There’s a frisson of interest there already. A stew that might bubble up into something wonderful. So keep going. Whatever comes to mind. When you\'re looking at how to come up with characters for a book, and developing the plot, jot down words and sentences. Note down anything that comes to mind around plot events, themes, settings, ideas for your protagonist. Keep listing, see what comes to you. An Example: First Attempt Try out things. So you might find yourself writing things like this: Ex-SAS man turned seismologist is there.Baggage from the past (a mission gone wrong?).Meets Olga, glamorous Russian geologist. How do you feel about those? Take a moment to see what your actual reactions are. Me personally, I think the ex-Special Forces seismologist could be a decent character, but the glamorous Russian Olga feels like a bit of a cliche. I feel I’ve seen her too often before. And the ‘baggage from the past / mission gone wrong’ element feels dangerously on the edge of cliche. That’s fine. Remember that this whole process is a development exercise. So you can try things out, see how they feel, and discard them as much as you like. Discarding stuff is good – that shows that you’re pruning the bad stuff and keeping only the good stuff. Just add explosions … An Example: Second Attempt So maybe we try again. We might start sketching something like this. Leila – who is ex-Special Forces – is a British seismologist.She loves extreme adventure, including climbing, sky-diving.She’s sampling ice cores to track past earth disturbances.She finds weird, inexplicable traces – too recent.A multinational team – many scientists there.Russian scientist, aloof, unnerving (will turn out a ‘good guy’). … … And so on. Maybe we haven’t yet nailed much with this list, but it’s the forward-back process of development that brings rewards, helping you make subsequent connections (e.g. perhaps you decide Leila’s the only woman on that team, perhaps she needs to prove she’s as strong as any of them, etc., etc.). The only test of whether a list like this works is whether you have a deep-ending tickle of excitement about your jottings. If that fades, you’ve gone wrong somewhere, so find out which element isn’t working, delete, and try again, following your intuition. Remember that the process of story development is one of constant experiment. You sketch something out. You see how it feels. It feels good? OK, great. You continue to add depth to your sketch. (Add a character, a possible plot point, some more about settings, some more about the challenge to be faced, etc.) It feels wrong? OK. So scratch out the thing that felt wrong. Try something else in its place. Or if you can’t find (say) the right antagonist for the moment, then leave that issue for the moment and turn to an area where you do have some good ideas. You’ll find that as you build up one area of the story (say, settings), you’ll find that other parts (say, your antagonist) suddenly flash into view. Each part of the story illuminates and supports the others. How To Give Your Story The “X-Factor” And as you’re doing this, remember that readers always want something new, something unexpected. So give it to them! The way to do this is to make sure that your list of story ingredients always includes a rogue element – something that you don’t expect to be there. That rogue element will always have the effect of lifting the story and giving the reader a little thrill of excitement. What’s more the rule basically applies to ALL huge-selling novels of recent years. Take romance plot ideas, for example: BORING STORY: a normal American teen falls in love with a normal American boy.GREAT STORY: a normal American teen falls in love with a vampire. Two versions of the same thing; the basic ideas to write a love story. One is too dull to cross a room for. The other one (Twilight) was one of the biggest YA sensations of all time. Or how about crime novel ideas: BORING STORY: a journalist investigates a murder in Sweden.GREAT STORY: a journalist plus a bisexual, Aspergers, rape-surviving, computer genius combine forces to investigate a murder in Sweden. The “rogue element” of Lisbeth Salander’s kick-ass character basically gave the Stieg Larsson’s Millennium trilogy the fire it needed to conquer the world. And so on. You can look at any huge selling hit of recent years and find that unexpected ingredient that blasted the book to international success. And you can repeat that trick for yourself. If you find your story is just too expected, then throw in something to freshen it up. So, let’s go with this Arctic idea, and let’s say that your draft story looks something a bit like this. FIRST DRAFT STORY:Leila, ex-Special Forces British seismologist is sampling ice cores in the Antarctic.She finds evidence of recent blast activity – human-made.She suspects of team of Russian scientists are really testing a new type of nuclear device.She investigates.The situation escalates.It resolves itself in a dramatic shoot-out. And what are your feelings there? I’m going to guess that you thought, roughly, “Yeah, that’s OK, but it doesn’t really set my pulse racing.” And the issue is that everything is exactly what you’d expect. It’s as though we read this story plan, and already feel like we’ve read that book or something very similar. So now let’s apply our rogue element strategy and see how the story might run. STORY WITH ROGUE ELEMENTLeila, ex-Special Forces British seismologist is sampling ice cores in the Antarctic.She finds evidence of recent disturbances that make no sense.And there are thefts from the camp – unexplained>At first the Russian team is suspected, but – caught out with a Russian captain, Arkady, in a snowstorm – it looks like Leila and Arkady will both perish. But they’re saved – mysteriously – as fresh kerosene is added to their supplies.Leila and Arkady come to believe they are dealing with the ghosts of Scott’s tragic expedition to the Antarctic.They realise the souls of Scott and his men are trapped in the ice and are only seeking escape. Leila & Arkady use their knowhow and technical resources to liberate the ghosts. How’s that? Personally, I’m not yet sure about it – I literally just this minute came up with the idea – but I will say this: You were not expecting that story to emerge. You’ve never read anything like it before. Already, it has a grip over your imagination that the first version never did. In fact, if we took the bones of that story and really did some work with it, I’d say we’d have the chance to create something really extraordinary. A story that no one had ever read before, or would ever forget. The short moral of this example is obvious: Yes, the process of story development is intuitive, trial-and-error, and has plenty of dead ends. But it’s not random. Good stories follow a formula, which can be put roughly as follows: Your passions + a rogue element = a great story If you want to structure that process some more – and you should – then do use our idea generator, available on this page. It’s great, and it’s pretty much guaranteed to work. From here you can go on to work on character development and character arc. Developing the plot beyond your initial idea is important too, so check out our articles on seven basic plots, and plotting a novel. Remember To Give Yourself Time Give yourself time to muse over your book. If all this takes a week, it’s taken you too little time. Three months would be good, but if it takes six months, that’s fine, too. Jack Kerouac, famed for writing his draft for On the Road in twenty-one days, pondered his ideas for years. My most successful novel (Harry Bingham writing) was two years in development, then written within two months – so development matters. Real inspiration takes time, care, effort, and thought. Technique Matters, Too Often, new writers can give up on a project by starting in a rush, noticing things aren’t quite working. They don’t quite know how to analyse what isn’t working, though, so give up – probably convinced that they don’t have the talent. And that’s not just untrue, but a shame. Writing books takes time and needs patience. It is also tough, and some new writers spend no time learning how to do it. The best solution? Simple: Get expert helpHang out with supportive writer-friendsImprove your technique And you know what? Jericho Writers is a club for writers like you and was set up to help writers like you. Jericho Writers is a global membership group for writers, providing everything you need to get published. Keep up with our news, membership offers, and updates by signing up to our newsletter. For more writing articles take a look at our blog page or join our free writer\'s community. 
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