An ever increasing sense of confinement starting with the first line
I wrote in Great Opening Lines – and Why! (Part 3 – Some Great Opening Lines) that I’d share more great opening lines as I found them.
“There was not an inch of room for Lottie and Kezia in the buggy.” – Katherine Mansfield’s Prelude in The Collected Stories of Katherine Mansfield (Wordsworth Classics)
This line is so elegant and simple it’s deceptive. It’s “not an inch of room for”, not “no room for”. “no room for” would be pedestrian, boring and unimaginative. “not an inch of room for” gives us a hint of character, mood, and atmosphere. We are shown the narrator’s attitude towards the environment the moment we start reading.
Continue reading “Great Opening Lines – and Why! (Mar 2019’s Great Opening Lines)”
A definite keeper. A resource. Read it twice and will read it again.
Rarely have I read a book that covers the entirety of a subject so well, so elegantly, so masterfully, with detailed examples and explanations. I had trouble finding pages I didn’t dogear, highlight portions of, make notes on, et cetera. This book is a must for anyone learning/practicing/perfecting their craft. My great loss is my local library not carrying any of his books. I’ll spend the money to see how this wonderful teacher applies his craft. If he’s half the master at writing as he is at teaching, Whoa!
Continue reading “Oakley Hall’s “The Art & Craft of Novel Writing””
It’s what they don’t tell you that’ll ruin you
Almost every writing-how-to book I’ve read has something about having to read, read, read and write, write, write to be a good author. Few books (nor any classes I’ve taken in classrooms, workshops, online, et cetera) include the two pieces of information without which all the reading and all the writing are…well, maybe not worthless but definitely worth less: How to Read and How to Write.
Read anything and everything. Read omnivorously. Read trashy novels. Read pulp. Read magazine articles, newspapers. Read onlines. Read prizewinners. Read in and definitely outside your genre.
Here’s what nobody told me; Read for craft, not content.
Pay attention to what you’re reading.
Pay attention to how characters are developed, pay attention to how scenes unfold, how things are foreshadowed, pay attention to how mood, atmosphere and tone are constructed to create specific effects. Pay attention to how the author does everything they do to get you to read their story.
Especially pay attention to what they do that makes you stop reading their story.
An example of the former is from Fritz Leiber’s A Pale of Air. I read this story mumbledy-mumbledy years ago and remember literally feeling cold after the first few paragraphs. No idea why and continued blissfully ignorant for ever so long. Take a moment to read the opening and enjoy the chill:
Continue reading “What do you mean, exactly, when you tell me to Read and Write to be an author?”
Reality Makes Fiction Believable. Threat makes things interesting.
Deveraux stared at the calendar on the wall while he waited: a pastoral farm scene above a month of days and dates. Young men haying in the foreground, scythes in hands, an older man – broader back, heavier build – guided a horse-drawn cart. A few passes remained. In the distance a setting sun. One of the field hands stood wiping his brow with a bright red neckerchief. Another leaned on his scythe, watching him. A white-sided farmhouse and barn with two towering red silos in the distance, at the far end of the field.
Why didn’t they start here and finish at the barn? Wouldn’t it be less work that way?
Under the picture a woman’s delicate hand wrote over specific dates: anniversaries, birthdays, doctors and vet appointments – cat? dog? He hadn’t seen any pets when he walked in – school meetings, church cookouts. Two gold stars where kids won awards. A red heart on a Friday, a church holiday. He’d have to step carefully when he explained why he was here.
Someone approached, a woman, her step light, delicate – the same woman who marked the calendar? The smells of fresh washing line-hung to dry, a lemony furniture polish, a light soap and talcum came through the door before the woman did, wiping her hands on her apron as she did, speaking his name as a question, welcoming a guest yet unsure of his purpose, her voice rising at the end, “Lieutenant Deveraux?”
He held his gray fedora in his hands, his fingers on the brim, spinning it slowly like a kaleidoscope showing nothing but dull browns and blacks and grays.
Now consider this:
Continue reading “Setting Scenes with Props”
Make every word your characters speak count
I reviewed William Noble’s Make That Scene on both Goodreads and in a bit more detail on my blog. That book was a gem, so I picked up Noble’s Shut Up! He explained and settled in for some good learnings.
Truth is, I’ve read the book twice in two years and will easily read it twice if not thrice more in the next few years. It’s that good.
Truly amusing to me is how little I retained from my first read. Of all that’s in the book, I locked on the gem about having characters ask each other questions to keep dialogue interesting, engaging and moving. Probably because I was writing lots of dialogue for a work-in-progress, Ritchie and Phyl (A Celebration of Life). That wonderful piece of advice became my big hammer for several dialogues in several works-in-progress. It’s an incredible tool all by itself and worth the price of admission.
But that, as noted, was what stuck with me from my first read. My second read had me dog-earing pages starting at 5 and several pages in each chapter thereafter.
For authors working on realistic, believable character exchanges – the book covers more than dialogue but dialogue is the main focus – it’s a must.
Continue reading “William Noble’s “‘Shut Up!’ He explained””