Starting to read "Conflict, Action, and Suspense: How to pull readers in and carry them along with dramatic, powerful storytelling" by William Noble This has been on my TBR for a VERY long time. #writing #writingcommunity
Starting to read "Conflict, Action, and Suspense: How to pull readers in and carry them along with dramatic, powerful storytelling" by William Noble This has been on my TBR for a VERY long time. #writing #writingcommunity
CH. 7: Building Through Character Development
Ch. 6: Building through Mood and Atmosphere
Ch. 5: Building through Dialogue "Conversation isn't dialogue." Dialogue is a "conversation with drama!"
"Keep your dialogue within the twin parameters of moving the story forward and developing characterization."
Ch. 4: Leave 'Em Hanging (topic is self explanatory) "[R]eaders expect this, especially in stories of action and suspense." ... "Readers expect to have the dilemma or the conflict resolved. We can leave them hanging for only a limited time..."
Foreshadowing is mentioned.
"Pacing our story means controlling it, and that, in turn, means taking the long view and measuring each scene against the entire story line." #writing #writingcommunity
Transitions "Time changes are crucial in any piece of prose because the story will move forward, and the reader must be able to keep up and to understand the changes."
I think this ties together with the "if it isn't necessary, take it out" philosophy of writing. If you won't resolve the dramatic action or scene, why is it important enough to include? If you can't answer that question, take it out!
CH. 3: Openings "We only get once chance to intrigue our readers, and we'd better make it work!"
"Dialogue openings have their place, as do narrative openings. The more immediate we wish to be, we use dialogue; the more studied we wish to be, we use narration." #writing #writingcommunity
My fantasy is a dialogue opening, but the romance WIP is narrative Both have the basics - a subject, an action, and the importance (one implied, one definite)
"The opening of any story must form the foundation for what is to follow. It must be a block -- sturdy and uncompromising -- to build the rest of the story upon."
"By the end of page two...the reader has to have sense what's to come and be wondering what is going to happen next."
"Talent comes with imagination, but the hard work comes in using it effectively."
"I feel, therefore I am." Get readers involved; make them care. I fully agree with this one -- as a reader, if I don't care about the characters (love them or hate them), I lose interest in the story.
How long vs short sentences can set the pace of the story, and the "stage".
A plug for active voice over passive, when trying to build suspense or action.
Oh, this is Chapter 2: Stage Setting.
Ch 1: The Nuts and Bolts of Drama "Drama is what we seek to create because drama is a want that can turn boring events into attention-grabbers, and when this happens on the written page, we'll find a reader involved in a story and thirsting for more."
"...the best way to gain a reader's attention is by offering the reader a chance to root for one of the characters..."
I strongly agree with this one. Whether reading or watching, if I don't care about any of the characters (love 'em or hate 'em or just feel anything), I won't care much about the rest of the story, no matter how well written.
Listing out the methods of conflict: - man v man - man v environment - man v self
"Suspense means uncertainty."
"Action means happenings."
"Conflict is really a mechanism that sparks all stories, and in this book we'll see how it builds action and suspense."
"[Readers] want to participate in the happenings on the page, and the careful writer a story must allow this to happen."