‘Releasing the Creative Writer in You’ – Lesson 3

releasing-the-creative-writer-icover-editedYou can find Lesson 1 and Lesson 2 at these links.

LESSON # 3: WRITING FICTION

Fiction covers a wide range of genres, including short stories, novels, novellas, novelettes, scripts, screenplays, and children’s literature. Having a knack for writing well in one of those genres does not guarantee that a writer has an equal knack for the others. However, most of the time writers find that, with experience and practice, they can write successfully in several different genres at the same time. While all good writing requires some of the same characteristics, each of the different genres of fiction has certain elements that are peculiar to it alone.

SHORT STORIES

There are no hard and fast rules followed by all writers and publishers concerning what constitutes the length of different genres of literature. Each literary guide has its own specifications, but the information given in this text offers an average that takes into consideration the high and low ends of various guides. In general, short stories are considered any stories between 100 words (generally referred to as “flash fiction”) and 20,000 words. Often the stories that run between 100 and 3,000 words are referred to as “short-short” stories. Length does not matter, except for the purpose of meeting the requirements of a particular assignment. (Ex. Writing for a magazine that has a word limit, etc.)

What matters is whether you have all the elements required to satisfy the readers of the stories, and if you have developed the characters, setting, and plot thoroughly – without letting any areas of the work drag or become unnecessarily verbose. The writer must tell a complete story: an attention-grabbing beginning, the development of a problem or conflict, attempts to resolve that conflict, the climax, and a resolution/conclusion.)

In short stories, word choices are even more pressing than in longer fiction. Character development is trickier, due to less time. There are also fewer words for describing setting and characters, as well as for developing plot.

NOVELS

Novels require a larger tale – so a larger scope. You have more time to develop setting and characters, as well conflict and climax. Generally readers expect a little more than one simple conflict in a story of any significant length – simply because real life is that way.

Word choices are still extremely important because nothing drags as badly as a novel that is too wordy.

Novel length is generally considered anything between 50,000 and 300,000 words. But most publishers have a policy concerning length of each genre they publish, and authors will need to consult each individual publisher’s guidelines when considering submissions.

Novellas: When you have a story that really needs more than a short story format, but hasn’t enough plot for a full novel, novellas offer a good alternative. If you find yourself working on a short story, but realize you are up to 30,000 words, you need to consider expanding the story a little more and making it a novella. (Generally 40,000-50,000 words on average).

Novelettes: This category offers one more level in alternatives to short stories and novels. Novelettes also give the reader a story that is more involved that a short story, but that does not have enough plot to carry it the length of a full novel. Any work running between 10,000 and 30,000 words can be considered novelette length.

SCRIPTS AND SCREENPLAYS

For scripts and screenplays, dialogue will generally rule, and action must be 100% do-able. Words are at their highest premium in a story that must be acted out. The author must also consider and write in all the stage directions as well.

CHILDREN’S LITERATURE

In children’s literature, writers deal with all the elements common to adult short stories and novels, but children’s works require special attention to the level of language and frames of reference so that they fit exactly the age group for which the pieces are written. The ONLY way to do that successfully is to SPEND A LOT OF TIME WITH CHILDREN. Children’s literature is also generally much more successful with pictures and illustrations. Therefore, the author needs to be able to provide these elements or develop a good relationship with an artist/photographer who can.


ELEMENTS REQUIRED BY ALL FICTION GENRES

So what are the elements of a good story?

1. Characters

Get to know your characters personally. Your reader may never need to know how your main character did while in first grade, whether he always cleaned his plate as a kid, whether or not he took vacations with his family, etc. But you need to know him well enough to know those things. That doesn’t mean you have to list every event in his life before he steps onto the stage of your book, but you do need to sit and think about him from every direction.

Chances are he will come from a real person you have had experience with, or – more likely – a composite of a number of real people. That is why keeping a journal and making character sketches is so important. This character had a life before he came into your book, and you need to know what it is so that he will be REAL and not just an automation you have invented to walk through the pages and say certain words.

Sometimes the characters will be there to carry out the plot (Plot-driven story)

Other times, the characters will be the main story, and their inner struggles, changes, and growth (or deterioration) are what constitutes the story. (Character-driven story).

2. Setting

You know yourself best, and you must decide if you are a person who enjoys detailed descriptions of settings or not. If you enjoy them, chances are you will write them well enough that your readers will also enjoy them. However, if you do not enjoy them, then you must work at giving your story a setting that needs a minimum of description and that has no real importance to the story itself.

The purpose of your story will also determine a lot about the degree of attention paid to the setting. If you write a story focused solely on a romance, making the characters and their personal, emotional interaction the meat of your story, you can get by with simply letting the reader know the characters live in a large American city, or a village in the English countryside, etc., with very little detail. But if you write a story set on another planet, you need to be prepared with loads of details so that your reader will not feel out of sync with the characters they want to identify with.

(You will find more details concerning setting in the upcoming chapter on that particular element.)

3. Plot (Action – either physical or mental)

The plot of a story includes the following basic 5 basics:

A. Introduction.

This can be as simple as opening the story with ordinary action shortly before the important action begins. This method is tricky because of the need to engage your reader from page one, but it can be done. Or you may open in the middle of some important action that will be explained in subsequent pages. Or you may use a prologue if you have to lay some groundwork that is not part of the main story. (However, you need to use prologues and epilogues very sparingly. Some readers skip them altogether.)

B. Development of a Problem or Conflict

This problem/conflict can be physical, mental, emotional, or all three. (More details are available in the chapter on conflict, which will be included in a later lesson.)

C. Attempts to fix the problem

D. Climax – Problem comes to a head and meets the solution head-on

E. Resolution/Conclusion/The End

For more details concerning plot, see the chapter entitled “Plotting Your Story,” coming in a future lesson.

4. Theme: The central, recurring, unifying idea of a piece of literature.

What is the Purpose of Specific Action or Dialogue in Your Story?

Your theme can generally be found in the answer to the questions of why something happened or what effect it is meant to have. As your story develops, you (and your reader) will generally find that virtually all of the action and dialogue is happening – ultimately — for the same purpose: to bring about specific outcomes – all of which work together to affect the reader the way you want him affected.

5. Body Language and Dialogue

As you develop your plot, remember to use as much dialogue and body language as possible to help the reader see and hear the words and actions. Simply narrating it is much less effective. Quote your characters directly, and let the reader hear a sigh or see the character lean against a door frame. Describe a smile or the sound of the laughter. Allow your character to lean forward or backward, rest his head against the back of a chair, or fold his arms across his chest. No real person carries on a conversation without body movement as well, and you need that kind of description to keep your reader’s attention and make your characters “real.”

(More discussion on this aspect of writing stories is covered in the material on Developing Characters and in the chapter on Dialogue and Body Language. These segments will be included in upcoming lessons.)


cartoon-writer-pink-spikey-hair-2Do you need an outline before beginning?

The short answer is ‘No.’ Sometimes stories just jump out at us when we are doing a simple writing exercise or sitting quietly and meditating. It’s fine to just sit down to the keyboard and start writing out what is flowing through our minds.

However, do not expect to write excellent stories on a regular basis without having a strong idea of what you want the story to do – how you want it to play out – and who the characters are. You will need some kind of guidelines to help you stay focused and to make sure you have a thoroughly developed plot.

If you find that a story begins coming to life in your mind, go ahead and start writing it. Write until you know you are finished with what was pressing to get onto paper. However, once that is done, you do need to try to determine where you are going – what is going to happen to your characters – what do you want the ending to be – are you wanting the story to stir up particular emotions or teach any particular lesson or moral?

Then lay out a “loose” outline. You will, no doubt, change this outline a number of times, but having something to look at now will at least help you stay with your story instead of writing two or three different stories because of running off on tangents as you write.

You can use the old tried-and-true classic outline format to do your planning, or you can simply write out a few notes or a paragraph for each scene you plan to include in your story. Many authors plan out their entire novels in such paragraphs. And some writers plan out each individual scene as well as the effects of each scene on the people who were involved in it.

One plan includes writing each scene on a note card, followed by a second card explaining the effects of that scene. The writer can then lay out the cards in front of him as he begins each new chapter and write out what he sees in his notes. Naturally, there may be a number of additions or subtractions – or some moving scenes around – putting them into a different chapter – but that’s what creative writing is all about.

(NOTE: If, while you are writing one story, you do get an idea for a totally different story, stop long enough to jot down the main idea that came to you – along with any notes about a character that you know will be a part of that story. Then put those notes away until you are finished with the story in progress. EXCEPTION: The exception to this rule is that if you find yourself pulled back to the new story again and again – or the ideas for it are coming much easier than the ideas for the first story, then, by all means, put #1 away in a drawer, and write # 2. This may be your masterpiece!)

Most of the time, characters and plot tend to take on a life of their own as you write. Do not be alarmed if you find a character wanting to do some things or say some things that you had not intended. If you are brave, let it happen. Then go back to the piece a day later and see how you feel about it. The same is true with plot. You will very likely have new ideas that come along as you write, and your story may turn in a direction you hadn’t even considered in the beginning. You may end up with an entirely different ending than you planned.

Now, there is a thin line between letting your imagination and creativity have this freedom and in being confused about what you are writing. That is one reason to have an initial loose outline. Each time you find a character changing his or her nature, you can stop and ask yourself, is this helping the story or hurting it? The same is true with plot. Often, you will have to wait a day or two and go back to the story to make that decision, but most of the time, you will not be on a strict deadline.


Releasing the Creative Writer in You © 2013 Sandra Pavloff Conner

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