Fiction – is there a reason for it? A point to it? Most importantly for us novelists, why do we write it?
Speaking for myself, the main purpose of reading fiction has always been entertainment. Losing myself in a good book on a rainy afternoon is an enormous pleasure. I don’t usually expect a novel to be life-changing; that is not my primary reason for reading fiction. If it’s an historical novel it might inform and educate me; a comic novel will entertain or irritate me; science fiction might stretch my understanding with varying levels of success, but a novel tackling some kind of moral dilemma will always get my full attention. Continue reading →
We did a very good exercise at the writing group recently – write a short scene where a character expresses an extreme emotion, such as anger, joy, grief, passion, impatience. Sounds easy enough, doesn’t it? But we’d been instructed to show the emotion, rather than tell it. So “she was frightened” was never going to cut it. We had to create a feeling with words. Continue reading →
We’ve been doing a lot of work on what makes a satisfying short story at the writing group, and here’s an easily digested summary of what we’ve discussed.
A memorable short story will say something about the human condition, encapsulating one idea succinctly, with each scene building towards a crisis point, followed by a point of realisation or moment of clarity. The issue you address at the start of the story should be the issue that is resolved at the end.
A good short story starts in the middle of the action and as close to the climax as possible. At the end of the story, the main character should be in a better place than at the beginning, enabling them to move forward.
We’ve all been there, and I don’t mean that rapidly expanding rear end through far too much sitting and writing (and eating snacks, let’s be honest) and not enough exercise. I mean that space between the opening of our novel and its climax, when we run out of steam.
It was my turn to take our writing group last week and as my theme I chose a topic I’ve written about in the past – Characterisation.
As well as what the story is about, readers are interested in who it’s about. They want a protagonist they can empathise and identify with throughout the story, but these characters won’t necessarily be nice people; some memorable characters from literature have been downright horrible – think Heathcliffe from Wuthering Heights, Vanity Fair’s Becky Sharp, Patrick Bateman from American Psycho, Pinkie Brown from Brighton Rock. Whether likeable or thoroughly villainous, we need to believe that the characters we create are real, breathing people or our readers won’t believe in them either.