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AllWriteFictionAdvice:June2014

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ALLWRITEFICTIONADVICE
A D V I CEONCR EA TI V EWR I TI NG

SA T UR DA Y, 28 JUNE 2014

TopWritingTips
Sometimesthereissomuchtorememberwhenwere
writingthatitseasytoforgetsomethings,butallit
takesissomequickandeasytipstogiveourselves
thatlittlepushtomakesurewevecoveredallthe
necessaryelementstowriteagoodstory.
So,tomakesureyoudontmisstheobvious,hereare
somequickandeasywritingtips:
1.BANG!
Thatsyouropeninggambit.Orsomethingverysimilar.
Inotherwords,startyourstoryatapivotalmomentin
yourcharacterslife,amomentofchange,amomentof
jeopardy,orevenabangsomethingthatmakesthe
readerinstantlysitupandtakenotice.
Donteverstartastorywithlotsofbackstory.That
meansthereaderwouldhavetowadethroughthreeof
fourpagesofboringinformationbeforeanything
notablehappens.Youropeningchapter,andyour
openingsentence,shouldgrabthereaderandthrow
themrightintotheaction,rightfromtheoutset.

A LL WR IT E FICT ION
A DVICE

IsBackstoryNecessary?
CreatingLastingImages
TrustYourMemories
ReadingYourMSSOutLoud
SortingFactfromFiction

WE LCOME T O A LL WR IT E

Soyou'veembarkedonyour
fictionwritingjourney.
It'soneofthehardestthingsto
docreateawhole,believable
worldforotherpeopletoenjoy,
especiallyifyou'renewto
writing.It'salsooneofthe
loneliestjobs,especiallywhen
thereisnohelporadviceor
support...sorightheretherewill
behandyarticles,examplesand
simplestepbystepguidesto
helpmakethecreativeprocess
thatmucheasier.

2.Tempt,Tease&Tantalise

FE BR UA R Y FE MME S
FA T A LE S

Sellthestorylikeyoumeanit.Inotherwords,never
losesightofthewholestoryandwhatitmeansforthe
reader.Soyouvegrabbedtheirattentionwithagood

Thisnewdeliciouslydark
anthologyisoutnow,witha
rangeofstunningfemalewriters
toscareanddelightinequal

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AllWriteFictionAdvice:June2014

opening,youvesetthescene,youveintroducedthe
maincharacterandyousetuptheconflictbutthen
what?
Well,youkeepdoingjustthatyouhavetoholdthe
readersattentionfortheentirestorytempt,tease
andtantalisethereaderfromtheopeningsentenceto
theclosingparagraph.Thatmeansyouhavetokeep
themreadingbytemptingthemwithwhatmaycome,
youhavetoengageandenticethemwiththestoryby
danglingthosecarrotsandyouhavetoexciteand
frustratetheminequalmeasure,rightuntiltheend.

measure.Iamprivilegedto
haveeightshortstories/poems
publishedinthisbook,soifyou
likeyourdamesalittledarkand
dangerous,thisisthebookfor
you.

NOW A VA ILA BLE ON


A MA Z ON

3.CreateConflict
Ifthereislittleconflictthereisnostory.
Everystoryneedsit.Thatmeanstherewillbea
protagonistandanantagonistworkingagainsteach
other,andtherewillalwaysbesomethingstoppingthe
maincharacterreachinghisorherendgoal.Thats
whatconflictisabout.
Conflictcausestensionandtensioncauses
atmosphere.Yourstoryshouldneverbeasflatasa
calmlake.Insteaditshouldberollingandroilinglikea
stormysea.
Conflictcomesinthreeforms,somakeeveryuseof
them:
Manv.man(external)
Manvnature(external)
Manvhimself(internal)

FebruaryFemmesFatalesThe
Book

WIS E WOR DS ...

Writingislikebeingmarried
youhavetoworkhardat
maintaininghappinessand
equilibrium,butinvariablyone
alwaysendsupinthedog
house.

A BOUT ME
A J HUM PA GE
UNIT E DK INGDO M

I'vebeenwritingfor

4.RaisetheStakes!
Dontmakeiteasyforyourmaincharacters.
Infact,makeitashardaspossibleforthemtoreach
theirultimategoal.Bemean.Backthemintocorners,
givethemproblemstodealwith,placebarriersintheir
way,givethemdilemmasandforcethemtomake
choices.

over25yearsand
startedoutinthe
publishingindustry.I've
publishedarticles,studyguides,
poems,flashfiction,short
storiesandanovel.Ialsowork
fulltimesoI'mALWAYS
working.
V IEW MY CO MPL ETE PR O F IL E

Keepraisingthestakes...readersloveit.
5.DumptheInfoDump
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BLOOD OF T HE FA T HE R

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Manywritersfallheadlongintotheinfodump.Thisis
whenthereistoomuchexplanationinthenarrative,
wherethewriterhasforgottenthathugechucksof
informationwillborethereadersenseless.Readers
dontmindinformation,butinsmall,easytodigest
snippets.Intruth,theyjustwanttogetbacktothe
action.
Ifyouvewrittenthreepagesofexplanationor
backstory,gobackandeditituntilitsnomorethan
threeorfourparagraphs.
6.GoonaWordyKillingSpree
Gothroughyourstoryandkillallthosepeskyadverbs
andadjectivestheyjustlovetocreepintothe
narrativeandweakenit.Instead,replacethemwith
nounsandverbs,whichstrengthenthenarrative.

NowavailableonAmazonKindle
UKandUS

BLOOD A ND GUT S
A NT HOLOGY

Getridofallthosedanglingparticiplesatthebeginning
ofsentences,lookoutforrepetition,weedoutthe
instancesofwasfromyourdescriptivepassages,and
makesureyourdescriptionsdontsufferfrom
wordiness.
7.Show,DontTell
Everybodyknowsthismaxim.Whereimportant
descriptionsareconcerned,showthereader,donttell
them.Yourstoryisntaninstructionmanual.Ifyoutell
thereadereverything,ratherthanshowthem,they
wontbeabletoengagewiththestoryoryour
characters,theywontbeabletoimaginebeingthere
inthatmoment.

YOUASCAREDYCAT?Now
availableatAmazon

FE BR UA R Y FE MME S
FA T A LE S S T OR IE S

Forexample,donttellthemthattwocharactersare
tryingtocrossafastflowingrivertorescuesomeone
ontheotherside,thattheyusedaropeandmadeit
safety.Thatsboring.
Showthereaderhowthecharactersstrugglewiththe
current,showthedanger,thefear.Showthemthe
conflict(manv.nature),andshowthedetermination
andstrengthofcourageandfinallyshowthemtherelief
whenthereachtheotherside.
Byshowingthereader,youstrengthenyourkey
scenesconsiderably.
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AllWriteFictionAdvice:June2014

8.MakeYourEndingCount
Yourendingshouldneverbeadampsquib.Itshould
besatisfactoryforbothwriterandreaderinother
words,itshouldbeabsolutelyrightforthestory.
Dontoverwriteit,orletitdragon,butdontleavethe
readerscratchingtheirheadorfeelingtheyvebeen
shortchanged,either.Putasmucheffortintocreating
therightendingasyouwouldtocreateagreatopening
foryourstory.
Ifitdoesntfeelright,thenitprobablyisnt.Endings
shouldtieupallthelooseendsandmoreimportantly,
leavethereadergratifiedandcontentedwiththe
outcome.

VisittheFeardomclickthepic

9.ReadYourStoryAloud
Anothergreatwaytoeditistoreadyourstoryaloud.
Thismayseemstrange,andyoumayfeelsillydoingit,
butitisafantasticwayforyoutoactuallyhearwhat
youhavewritten,asopposedtoreadingit.
Readingitaloudallowsyoutolistentoyourdialogue
doesitsoundrealenough,doesitmakesense?Italso
allowsyoutohearthepaceofyourstoryandwhetherit
flowscorrectly,andwhetherallyoursentence
structuresreadwell.

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S T YLIS H BLOGGE R A WA R D

10.Write,edit,write,edit
Firstdraftsarebuttheskinthatcoversthebarebones.
Thatmeansnoonecaneverwriteaperfectlypolished,
publishablestory/novelfirsttimearound.Itnever
happens,becausethestorywillbefullofmistakes,
therewillbetoomanylongscenes,stuffthatdoesnt
quitemakesense,charactersthatcanbeditched,
holesintheplot,notenoughdescription,ornotenough
dialogue,orsubplotsandlooseendsthatneedtobe
tidiedup.
Whatwritersdo,however,isediteachdraftuntilitsa
closetoperfectaspossible.Somewriterscandoitin
twoorthreeedits,dependingontheirexperience,
othersneedfourorfiveedits.Buteachtimeyouedit,
thestoryshouldimprove,untiltherearenoplotflaws,
everythingreadssmoothly,thereisagoodbalanceof
narrative,dialogueanddescription,thereareno
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AllWriteFictionAdvice:June2014

grammarerrors,thesubplotscomplimentthemain
storyandthecharactersarefullyfledgedandsoon.
Neverlosesightofalltheseelementsandyouwontgo
farwronginyourwriting.

Nextweek:Doescrossgenrewritingreallywork?
PO S TED B Y A J H UMPA G E A T S A TUR D A Y, J UN E 28, 2014
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SA T UR DA Y, 21 JUNE 2014

2012(48)

WhyRejectionisaGoodThing

2011(50)
2010(32)

Thereisnothingworsethanahardkickintheguts.
Thatsgenerallywhatrejectionfeelslike.
Afterworkinghardwriting,draftingandeditingyour
masterpiece,andespeciallyafterhavingthecourageto
submitittoanagentorpublisher,yougetthesummary
rejection.Anditdoesdeflateyou,nomatterhow
experiencedawriteryouare.

T WIT T E R

Thereisamisconceptionthatrejectionsrepresent
failure.Butwhilerejectionsdohurtwefeeltheydo
becauseweautomaticallyinterpretarejectionasa
personalrejection,wheninfactitisnothingofthesort
theyshouldbetreatedasapositiveratherthanthe
epitomeoffailure.

FOLLOWE R S

YoucanfindmeonTwitter:@AJ
Humpage

Firstly,rejectionshappenformanyreasons,notjustthe
obviousmystorymustberubbish,thatswhyitwas
rejected.Forinstance,thereareotherreasons:

Notrightforthetargetmarket
Agents/publishersarenottakingonnewauthors
forthemoment
Notwhattheagent/publisherislookingforright
now
Needsmorework/editingonplot/storyline
Notenoughcharacterisationcharacterswere
notstrongenough
Implausibleplot
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S UBS CR IBE T O

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5/14

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AllWriteFictionAdvice:June2014

Thestorywasntquitestrongenough.
Thequalityofwritingislacking,andneedsmore
work.
Thosearejustafewofthemyriadreasonswhywriters
receiverejections.Manyrejectionsmayinvolveafew
wordsfromtheeditortowhytheworkwasrejected
thisisveryimportant.Othersmaynotofferanythingbut
anautomatednothanks.
Thereasonsforrejectionwilleithermakeyouthrow
yourmanuscriptintothenearestcornerwhileyou
retreattoyourcavetosulk,oritwillmakeyousitup,
takenoticeandworktowardsimprovementbytaking
thefeedbackgiventoyouandreworkingyourstory.
Rejectionsareavaluablewayforyoutounderstand
thestrengthsandweaknessesinyourwriting,andyou
asawriter,soyoushouldtakethetimeprocessthe
rejectionandthereasonswhy.Onceitisprocessed,
youcandustyourselfoffandgetonwithimprovingthe
story.Thereisnoneedtogiveup.
Anynotesfromaneditorwillhelpyouseewhere
improvementscanbemadeonthewholetheytend
tobeveryconstructive.Thingslikegrammar,better
sentencestructures,morecharacterisationandmore
showingratherthantellingarestaplesofmany
rejections.Andwithabitofthoughtandhardwork,
thesethingsareeasilyimproved.
Youmaybeluckytogetamoreindepthresponsefrom
aneditor,detailingproblemareassuchadialogueor
lackofdescription.Ortheymayhavespottedmuch
biggerproblemareassuchasplotflawsorfarfetched
storyline.

MOS T POPULA R A R T ICLE S

Chapter&NovelLengths
Justhowlongshouldachapterbe?
Whatsthebestlength?And
doesanovelhavetofitintoa
setamountofwords?Theseare
justtwoo...
Flashbacks
Whatisaflashback?Flashbackis
oneofthoseusefultoolsthata
writercanusetoenhancea
story.Itenrichesand,ina
sense,nourish...
Subplots
Imoftenaskedbynewwriters
howsubplotsshouldevolve.
Somewritersfindsubplots
difficulttogettogripswhile
othersareputofftry...

WOR K S OF A J HUMPA GE

http://ajhumpage.blogspot.com
ThrillersChillers'n'Killers

SHA R E IT

Asthewriter,youshouldtakethecommentsonboard
andgobacktoyourworkwithanobjectiveeyetosee
howrighttheyare.Aretherereallyplotflaws?Isthe
storylinereallyfarfetched?Ifso,workharderto
improvethem.
Reallygood,constructiverejectionswontjusthighlight
thoseshadyareasthatcouldbemadebettertheyalso
tellyouthepositivepoints,thethingsthatdowork.
Gettingthingsrightiswhatweallwant,andtoreceive
thataffirmationmakesyoufeelbetter,butitalso
motivatesusbecomebetterwriters,whowritequality
stories.
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6/14

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AllWriteFictionAdvice:June2014

Rejectionsarenottheendoftheworld(onlyforabout
aday,maybe),beforethecloudsofdoomclearandwe
seethingsdifferently.Therealisationthat,actually,
yourstorydoesneedtobereworked.
Essentially,rejectionsareagoodthing,theymakeus
betterwriters.Theytellusthatwehavetodobetter
theytelluswherewevegoneawry.Theyareour
headmistresses,lurkingintheclassroom,makingsure
wedowell.

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STATS

PA GE VIE WS LA S T MONT H

Theyhighlightstrengthsandweaknessesinour
writing
Theypickoutflawsinourwriting
Theychallengetheofteninflatedopinionswe
haveofourselvesaswriters,andbringusdowna
pegortwo.
Theyhighlightvariousareasforimprovement
Somearequiteconstructive,highlightingour
goodpoints
Theyarenotaboutfailure,butaboutputtingin
morework.

21,855

GOOGLE + BA DGE

Withtheexceptionofthosewhochoosetoselfpublish
(andthusbypasstherejectionprocess),everywriter
hasexperiencedrejection.Icouldpaperawallwithall
myrejections.Butwithoutthoserejections,Iwouldnot
havebecomepublished.
Lovethemorloathethem,rejectionsaremorevaluable
thanwritersrealise.
Nextweek:Topwritingtips.

PO S TED B Y A J H UMPA G E A T S A TUR D A Y, J UN E 21, 2014


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SA T UR DA Y, 14 JUNE 2014

TheDifferenceBetweenNarrative&
Exposition
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AllWriteFictionAdvice:June2014

Everywriterwillknowwhatnarrativeis,buthowmany
understandwhatexpositionis?
Itseasytothinkthatbothtermsmeanthesamething,
buttheyaredifferent,andwritersshouldunderstand
thosedifferenceswhenitcomestotheirwriting.Not
onlydowritersneedtounderstandthereare
differences,butthatexpositionandnarrativehave
differentrolestoplayinstoryconstructionandthey
effectthepacingofthestory.
Theeasiestwaytoexplainthedifferenceisthat
narrativeisawayforthewritertoinformthereader
withnonactivedescription,awayofsimplyrelaying
nonessentialinformation.Initsbroadestsense,the
writeristellingthereader,butthatinformationdoesnt
reallymovethestoryforward.
Forexample,thisisnarrative:
InthedaysleadinguptoBobbysdeath,Michaelnever
gaveasecondthoughttothesafetyofhishorses.His
complacencyhadbecomesoingrainedthatitwasan
invisibleforce.Heshouldhavepaidattention,butinthe
end,hedidnt.
Youcanseethatthisisnonessentialbackground
informationforthereader.Narrativelikethisfillsthe
gapsbetweendescriptive,activescenesanddialogue.
Itistellingthereadersomeinformation,itgivessome
characterrevelation,butitsnotdescriptiveinanyway,
itsmerelytellingthereader.
Exposition,ontheotherhand,givesimportant
information,itexplainstothereaderinmoredetail,it
containsdescription,itinformsanditmovesthestory
forward.Thewriterisshowingthereader.
Forexample,expositionwouldbesomethinglikethis:
Thehugechestnuthorsedidntmove,andwhen
MichaeltouchedBobbysneck,itfeltfirmandcold.His
eyesweredarkerthanMichaelrememberedthelife
drained,hisessencevanished,leavingbehinda
physicalshellthatcontinuedtodie.Whateverhadkilled
Bobby,Michaelwantedpayback.
Unlikenarrative,theexpositionisshowingthereader
withdescription,itsinformingthereader,butitisalso
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movingthestoryforwardbyhintingatMichaels
indentations.
Whenisnarrativeeffective?
Narrativeismosteffectivewhenitsbalancedwith
description(exposition)anddialogue.
Therearetimesinastorythatawriterneedstoquickly
conveynecessaryinformationtothereader,without
takingtwopagestodescribeit,andthereforenarrative
isessential.Becauseitismerelyrelayinginformation
intherightplaces,withlittledisruptionithelpsslow
thepaceofthestoryandallowsthereadertotakea
breather,allowingthemtostepbackfromtheaction
whiletheyprocesspriorinformationorevents.Writers
havetoallowtheirreaderstotakeabreather,tovary
thepace,toteasethem.
Narrativealsogivesthewritertimetoestablishsome
backgrounddetailsandsetting,thetone,andtosetup
thenextscenes.
Byitsverynature,narrativewillslowthepaceofthe
storyandhalttheactivemomentumthereforewriters
shouldbeawarethattoomanylongsectionsof
narrativewilleventuallyborethereader.Theywillwant
togetbacktoaction.Inotherwords,keepnarrative
sectionsfairlyshort,butjustenoughtogivethereader
anynecessaryinformation.
Narrativeisalsousedfortransitions,smoothlymoving
fromonescenetoanotherwithoutpagesandpages
describinghowandwhy.Justafewwordsofnarrative
willaccomplishatransitionalscene.
Theyarealsousedtoestablishflashbackscenes,
becauseinjustafewsentencesthewritercantakethe
actionbacktoatimeinacharacterspast.Thiscant
bedoneeffectivelyifitwaswrittenasexposition,
simplybecauseitwouldtakehalfachaptertodoit.
Goodwriterscansuccessfullyweavethenarrative
betweendescriptiveandactionscenesanddialogue
scenes.Thatway,thereisnoneedforhugechucksof
narrativethatcouldeffectivelybringthepacetoa
completehalt.
Whenisexpositioneffective?
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AllWriteFictionAdvice:June2014

Aswithnarrative,expositionworkswhenbalancedwith
dialogueandnarrative.
InLatin,itmeansshowingforth.Putsimply,showthe
readerwhatishappening,donttellthem.Andthatis
thecruxofexposition.
Expositioniseffectivewheninterwovenwithdialogue
andnarrativeinordertoprovidedepthanddimension
tothestory,becausemostscenesinanystorywillbe
madeupofallthreeelements.
Wellwrittenexpositionhelpsthewritertoshowwhatis
happening,ratherthanjusttellingthereader.The
descriptionsgivethereadermoreinformation,more
facts,andmoreemotion,andithelpswithactive
scenesbyquickeningthepace.
Unlikenarrative,expositionalsoallowsustohear
characterthoughts,forexample:
Reflectivecrystalsglitteredinthesnow,brightbeneath
themoonglow.Davidpulledasidethebrancheshe
hadcarefullylainoverthelargemound,butthesnow
anddirtbeneathhadbeendisturbed.
Someonesbeenhere,hethought,andhisheartbeat
quickened.SomeoneknewEllenwasburiedhere
Theexpositionherenotonlyshowswhatheisdoing,
butalsoshowswhatDavidisthinkingincorrelationto
thescene.
Thedrawbackwithexpositionisthatwriterssometimes
writetoomuchofitanditthenbecomesaninfodump.
Aswithanything,itsallaboutbalance.Usejust
enoughexpositionshowthereaderinacompelling,
interestinganddescriptiveway,interspersedwith
narrative,anddialogue,togettherightbalancedeffect.
Inanutshell,narrativeistelling.Expositionisshowing.
Nextweek:Whyrejectionisagoodthing.
PO S TED B Y A J H UMPA G E A T S A TUR D A Y, J UN E 14, 2014
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SA T UR DA Y, 7 JUNE 2014

CreatingSuspense&AtmospherePart2
Lastweekwelookedatcreatingsuspenseand
expectation.
Thisweekwelllookatatmosphereandhowitworksin
relationtosuspenseinordertokeepthereaderonthe
edgeoftheirseats.
Firstly,atmosphereoftenreferstothemoodandfeeling
thatiscreatedwithinthestory.Sometimesitissubtle,
sometimesitsobvious.Butrelayingitsuccessfully
dependsentirelyhowwellthewriterconveysit.Ifdone
well,thewriterwillhavecreatedanemotionalresponse
fromthereader.
Withoutareadersemotionalconnectionwith
characters,theabilitytocaptureatmospherewillbe
lost.
Butwhatactuallycreatesatmosphere?
Severalelementshelpthewritercreateasenseof
atmospheredescriptionandimagery,sensesandthe
setting.Usedseparatelytheyareinterestingelements,
butusedtogethertheyhavethepowertodragthe
readerrightintotheheartofthestory.
DescriptionandImagery
Descriptionhelpsthereaderunderstandwhatis
happeningwithinthestoryitgivesthemmorethanjust
aflatlandscapetowalkthrough.Theyrelyon
descriptionstoimaginethecharactersandtheplaces
andtheaction.Evensmall,descriptivedetailshelp
createatmosphere.
Butdescriptionisnothingwithoutpowerfulimageryto
enhanceit.
Imageryreferstothesensorydetailsgivenbythewriter
itisthecatalysttocreatingmoodandemotions,and
ultimately,asenseofatmosphere.
Forinstance,adarkhouseinthemiddleoftheforest
alreadycreatesasenseofmood.Thecleveruseof
descriptionenhancesthatmoodthingslikeshadows,
lowcloud,theintensedarkness,moistureintheair,
earthy,mustyscents.Forexample:
Rusttintedcloudsgatheredacrosstheforest,fullwith
rain.Behindthegrimywindowsoftheoldfarmhouse,
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AllWriteFictionAdvice:June2014

theshadowsofthepastskulkedwithoutpurpose,
foreversilenced,exceptforthewindraspingthrough
theitsemptyhallways...
Thedescriptioninthisexample,inlaidwithimagery,
createsasenseofforebodingandunease.These
feelingsandemotions,andtheimagery,creates
atmospherebecauseitismanipulatinghowthereader
willfeel.
Ifitwaswrittenwithdifferentdescriptionandimagery,it
wouldcreateanentirelydifferentatmosphere,for
example:
Marshmallowcloudsdriftedacrossanazuresky,and
reflectedthesunlightacrosswideopenfields.Behind
thepristinewindowsofthefarmhouse,childrenchased
eachotherfromroomtoroom,fillingtheairwithvoices
ofdelight.
Youcanseehowthemoodisdifferentandthe
atmosphereisoneoflightandplayfulness.Theright
choiceofwordscreatesevokesentirelydifferent
feelingsforthereader.
Youdonthavetooverdescribe,butthinkcarefullyhow
yourdescriptionsbuilduponandmaintainthe
atmosphere.
TheSenses
Inadditiontodescription,writersusethesensesto
enrichthedescriptionandoverallmood,whichtheydo
notjustthroughdescription,butmoreimportantly,
throughtheircharacters,becausethiscreatesasense
ofimmediacy.
Whatcanthecharactersee?Whatcantheysmell?
Cantheytasteanythingontheirtonguethesaltyhint
ofseaairmaybe?Whatcantheyhear?Asoftbreeze
onasummersday,orthelowgrowlofastorm?
Whatiftheyreachedoutandtouchedsomething?
Whatwouldthatsomethingfeellike?Isitsoftand
wonderfulorisitvileandsticky?
Theseelementscanhelpthereaderimaginethese
senses,andagainthechoiceofwordsandthe
anticipationcreatesatmosphere.
Setting
InmypreviousexampleIusedanoldabandoned
farmhousesurroundedbyaforest.Thisisthesetting.
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AllWriteFictionAdvice:June2014

Bythevirtueofitbeingabandonedtoshadows,it
alreadycreatesatmosphereandthereaderwill
immediatelypickupontheeerinessandtheseclusion
andthetrepidation.
Thesettingthatyoucreatecanevokesomethingwarm
andfuzzy,oritcanbecreepyandscary.Itcouldbe
somethingnicetakingplaceinthedaytime,oritmight
besomethingterribleabouttohappenduringnight
time.
Weatherconditionscanformpartofyoursetting,so
youcouldhaveascenewiththesunandtheheat,or
youmightwantathunderstormandthecoolnessofthe
rain.Eachoneconjuresdifferentconnotations.
Whateveryoucreate,theyallformpartoftheoverall
atmosphereandhastocreateastrongresponsewith
thereader.
Considertheimagerycertainwordscancreate,think
abouttheemotionalresponsesyoucouldgeneratewith
therightchoiceofwords,whethertheyarepositive
reactionsornegativeones.
Whenyoumixtogethertherightdescription,theright
imagery,thesetting,andyouinvolvethesenses,you
cancreateatmosphere,mood,tension,anticipation,
trepidationthelistisendless.Andallthesekeepyour
readerontheedgeoftheirseats.
Nextweek:Thedifferencebetweenexpositionand
narrative.

PO S TED B Y A J H UMPA G E A T S A TUR D A Y, J UN E 07, 2014


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