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You might remember the terrific question Adam Nicholls asked me about daily wordcounts and now he’s sent me this: May I pick your brain about fleshing out a character? I’m struggling with someone who’s addicted to heroin.
What a challenging subject. It’s daunting to portray a character whose experience is well beyond your own, especially to such an extreme. Here’s where one of my day jobs comes in handy. My freelance gig on a doctors’ magazine means I’ve edited a lot of pieces by people who help addicts. So this is my checklist for creating a plausible, three-dimensional character in the grip of a demonic addiction, whether illegal drugs, alcohol or a habit such as gambling.
Choose your poison
The addictive drugs have different effects. Adam has already decided his character uses heroin but you might want your character speeded up, slowed down, made more confident or just mickey finned. For one of my ghosted novels I needed a drug that would produce ghastly, debilitating hallucinations with possible flashbacks and could be easily obtained by ravers. With that wish list I decided on ketamine. (A horse anaesthetic, since you ask. Horrible if taken by humans. And make sure your internet firewall is working. You’ll find some seriously shaky stuff.)
Decide how the drug or habit alters their personality
The drug will probably amplify or change certain parts of your character’s personality. So you need to know what they were like without the drug. And remember personality is not the same as back story. Although you might use back story to demonstrate a traumatic event that led them to addiction, their reaction is individual. That same event may have had a completely different effect on another person.
Consider what the drug does for them
What do they get out of it? Why did they like it at first? Why did they try it? Have they used other drugs and what did those do for them? Are they calmer, more intensely concentrated, does it take the edge off, make them more confident, ease awkwardness with other people, numb a sense of not belonging, being fundamentally wrong or dull some other pain?
Decide how addiction controls them
You’ll undoubtedly be reading first-hand accounts of addicts and those who have been close to addicts. But you can also do a little role-play yourself to understand a person in the grip of a fierce dependence. You may not have dabbled with drugs, but I’ll bet there’s something in your life that is so important you arrange everything around it. Your children, partner, job may all govern your day-to-day decisions and choices. So you know what it’s like to place something at the centre of your life and defend it when necessary. This is like your addict’s need.
What does your addict do to fund the habit and how does that impact their life? Do they steal? If so, do they commit crimes or do they steal from the people close to them? Or are they independently wealthy? Is their supply guaranteed or do they struggle to find the drugs? What dangerous people might their habit bring them into contact with?
Significant others who aren’t addicted
How does the addiction affect the lives of those around them? What story conflicts might that create? Does your character have family and friends who aren’t addicted? How do they react? How are relationships changed by it? Who might be driven away? Who might grow closer in an attempt to help? Who knew the character before they were like this? Who has only known them since it started?
Does your addict have the capacity to stop? What might help them? What might throw them back down?
Introduce the reader to the behaviour that will be abnormal
Your addict character won’t behave like the others. If they develop the addiction through the story, you can introduce their bizarre actions gradually. But if they’re already addicted at the start, you need to handle the character-establishing scenes carefully in case the reader mistakes them for clumsy writing or refuses to believe them. This may be tricky for you to judge by yourself, so when you give the book to beta readers, ask for feedback about it.
Ultimately, when writing an addicted character, it’s not about the substance/habit or the extreme physical experiences. Concentrate on their personality, priorities, conflicts and other people. Thanks for a terrific question, Adam – I’ve enjoyed tackling this.
There are a lot more tips about writing a character who’s not like you in Writing Characters Who’ll Keep Readers Captivated
Guys, do you have any tips to add? Have you had to write a character who’s addicted, or somebody whose world is significantly different from your own?
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I’ve had this question from Ellie Jackson, who blogs at aquamarinedreams.wordpress.com
I have just graduated from high school and dearly wish to become a writer/author. I am asking different authors what their recommended education would be – pursue a degree, take courses, or read books and blogs and get as much experience possible?
You want more than just to use writing in your job, right? You want to write books that will be your signature in the world.
I’m guessing that careers advisers would pick the obvious – take a qualification in English, perhaps literature. That’s the way I was advised, but studying English didn’t help me write. It was the subject I was good at and a way of keeping me parked in education while I figured out a profession to aim for. (I went into publishing.) Casting around my real-life friends who’ve ended up as published writers, they have degrees in archaeology, history, theology, PPE. Husband Dave has a degree in physics. Some of my writer friends don’t even have degrees.
None of my writer cronies have a formal education in writing. They – we – wrote as a natural pastime and this became such a habit that we always had a book in the works. We read craft books when we found them, but mostly went with our instincts and learned by reading with awareness. Then we gathered our courage, queried an agent or an editor and had a period of rude awakening when we discovered our blind spots (and also strengths).
Not everyone gets that kind of feedback or opportunity, of course, especially as publishing deals are now more scarce than ever. But we now have far more ways to find mentors – hiring an editor, joining online or real-life writer groups. I had my baptism of fire in an evening class at Morley College in London, where we read excerpts of WIPs and discussed them critically, guided by an agent. All genres, all types of writer. Eyes were widely opened.
Good as that was, I’ve done miles more learning since. Each novel gives me new craft challenges, and Ever Rest is no exception. To be a writer you have to relish that work as much as the days when the muse is obliging. It also means you don’t have to get all your learning in one hit.
Last word on courses
Creative writing qualifications might prime you with the basics, but I don’t think they’ll equip you any better than learning by practice, training your sensitivity, reading observantly and experimenting on your own soul. Creative writing degrees probably exist because there’s a demand for them, not because they’re necessary.
What’s my evidence for this? In more than 20 years as an editor, I have not noticed that clients with MFAs or creative writing qualifications are any more adept than those without.
Again – which course?
Here’s what I’d do. Get a fallback skill you can ultimately use for freelance work. It’s unlikely you’ll be able to make a living just by writing, so train in a skill that will pay the bills and scale up or down as needed. Even if you aim to write a high-selling, lucrative genre such as romance, you still need to earn while you build a reputation, a network and a body of work.
It’s more likely, though, that you won’t give up the day job. Sorry. Many acclaimed writers I know are also immigration officials, teachers, night watchmen (good for story material), doctors, lawyers, PR consultants, tailors, journalists, farmers, electricians. I don’t subsist solely on writing. I freelance as a fiction editor and also as a magazine editor. And occasionally a film and TV extra.
Should you try to work in book publishing?
Here’s an upside – you meet useful people and learn handy skills (for me it was how to make books – dead useful with the invention of CreateSpace).
Here’s a downside – little reading time of your own. You must read to develop your art. Although you learn a lot from rough or unsuitable manuscripts, or the latest upcoming bestsellers, you need to read for your own education and for your current WIP. See my previous remark about prioritising.
We’ve talked about ‘experience in writing’ – but experience in another sense counts too. The best education for writing isn’t craft books or courses. It’s life. If we only mix with writers, that’s all we know – like those authors whose main characters are always authors, or pop stars who only write songs about the agony of fame. That’s a rarefied life that doesn’t resonate well with the people who might be your readers. This fantastic post by Randy Susan Meyers at Beyond The Margins talks about the things she learned from frustrating jobs where people treat you impolitely, reveal their true natures or regard you as invisible. We write more truthful, relatable, enduring books when we get out.
Becoming a writer isn’t necessarily about getting qualifications. The learning process is too long for that. You can’t bank on making a living through it – although you might, the business is too precarious and fickle for such guarantees. So what is your best plan for success? To build a life that enables and enriches your writing. Good luck. And let me know what the other authors say.
What would you say to Ellie? Share in the comments (especially if you’re a careers adviser)!
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I have a friend who is French, and despite years of living in England, he uses a vocabulary that is sometimes unintentionally hilarious. He became a legend when he referred to a top-down convertible as a ‘topless’ car. (I am so looking forward to the SEO results of this first paragraph.)
I’m currently reading Jonathan Safran Foer’s Everything is Illuminated, and one of the narrative strands is in the voice of Alex, a Ukrainian who speaks very little English.
In an attempt to seem more educated and impress the hero, Alex is, as he himself would put it, ‘fatiguing his thesaurus’. In his account, people sitting around a dinner table or at the wheel of a car are ‘roosting’. If something is nice or good, it’s ‘premium’. If a character is standing still they are ‘reposed’; annoyed is ‘spleened’. Alex’s choices are often unintentionally ridiculous, and he has no idea of their appropriateness or connotation.
This creates various literary effects in the novel, which I’ll come back to if you’re curious. But actually, a lot of writers – across all types of fiction – choose words that make their action or characters unintentionally ludicrous or comic.
In times of trouble
This particularly seems to happen with dramatic moments.
In a fight, the heroes might be ‘whacking’ and ‘walloping’. A vulnerable character might get their hand ‘squashed’ under an attacker’s boot, or ‘bounce’ down the stairs. These words might be accurate, but they have a comic ring that ruins the atmosphere. In a scene where a much-loved character is found murdered, there will be ‘blood-splattered’ walls. (Try this instead from Thomas Harris’s Red Dragon: ‘Bloodstains shouted from the walls.’) Someone discovers the body and lets out a ‘squeal’ or a ‘squeak’ – which sounds jolly instead of appalled.
This might happen for a number of reasons. Quite a few of my clients are merry souls even though they write dark stories. Or they’re trying to make a description dynamic, but in their vigour they pick a word that has gusto instead of menace. Or they’re trying to be accurate about what’s in their mind’s eye – after all, blood probably does splatter and spurt from a slashed artery. The trouble is, it sounds slapstick.
In prose, words suggest pictures and atmosphere just by their shape and sound. Those beginning with ‘s’ seem to be especially risky – I can’t count the number of times I’ve seen unfortunate appearances of squashed, spattered, squatted, squirmed and squelched.
Ear and eye
To control our text fully, we need to develop an ear for the mood suggested by a word, and for how it looks on the page. This is different from the way they might work if you were describing the scene to friends, who would have your personality and vocal delivery to disguise the odd inappropriate word. Similarly, you might be led astray if you read a lot of scripts instead of prose. Screenwriters don’t have to be so sensitive to these subtleties. They are presenting instructions for an experience that will come to life in other media.
But on the page, you are creating the actual experience. Your word choice is your tone, the personality behind the scene, the theme music, the lighting. We have to examine these qualities every word we use, both its sound and its shape. Look at that Thomas Harris line again, about a gore-splattered room: ‘Bloodstains shouted from the walls.’
In Everything Is Illuminated, the word choices appear oafishly comic, haphazard; mangled, even. As with all well-executed tomfooling, this belies a great deal of skill. Each odd word has been chosen by the author with great care, with an eye and ear for the grace of a sentence, for how jarring or surprising it might be, and to encourage us to think of what it might really mean. And this clumsiness also gives the narrator a great transparency; he is so unaware of other connotations his narrative has a quality of charm and honesty.
Choose synonyms with care.
Do you have trouble picking the right synonym? Do you have any examples of writers whose descriptions hit the spot for you – or don’t? Let’s share in the comments!
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However, there’s a big pitfall with this kind of character: writers are sometimes reluctant to make them people in their own right. They’re worried about being too specific and instead they create a bland nobody.
These are the symptoms of the nobody everyman:
The character doesn’t react to dramatic situations
- because the writer assumes the reader will apply their own reactions. But readers don’t want to do this. They want to share the character’s reaction. I particularly see this in writers who learn a lot of their storytelling from films and TV. But novels are an internal medium, a landscape of emotion, and the reader needs to be guided more.
In prose, if the character doesn’t react, it looks as though the event made no impression on them. In any case, you can’t guarantee what a reader’s reaction will be, and that it will be the one you want. (Readers certainly aren’t everymen!)
The character has very little history, background or personal preferences
Again, the writer is afraid of making the character unlike the reader, and so they don’t fill in any home background, hobbies or back story. This makes them look curiously empty. Think of when you meet somebody for the first time – there are certain things you want to know about them. What they do; whether they have kids; what hobbies they have. In real life, we need context about people. And so do readers.
Because the writer doesn’t want to presume any reactions, they make their everyman character wait around for the more interesting people to cause adventures. This can make us wonder why we are spending the most time with the dullest person. Even if the viewpoint character is surrounded by troublemakers and simply wants a quiet life, they need to fight back instead of being pushed around. That’s not to say the other characters can’t get them into scrapes; but our main character must also seem to cause some of the situations they find themselves in. If they simply wait to be shepherded, it’s frustrating to read about.
So how do we write an effective everyman character?
Is there even such a thing as an everyman character? We are all different. My reaction to a life dilemma won’t be the same as yours. If our characters are to be convincing, it doesn’t make sense to leave them as empty vessels for the reader to fill.
And besides, if we look at what readers respond to, it’s not as superficial as tastes, social background etc. Readers respond to something that’s deeper down – and that’s emotions that are universal for everyone: fear, difficult choices and dilemmas.
If you evoke those well enough, the reader will put themselves in that character’s shoes regardless of their circumstances or even the era the book was written. Think how many classic novels are still finding new readers because their protagonists strike a chord. A lonely orphan becomes a governess and falls in impossible love with her employer – Jane Eyre. A timid, inhibited girl is overwhelmed by her new position as wife in a grand house – Rebecca. These aren’t everyman characters by any means, but we connect with their stories and experience them vividly. It doesn’t matter at all that they don’t do what we would do, or that their circumstances are not like ours. They have loneliness, dilemmas and fears, which is enough to put us in their shoes.
So don’t make your everyman viewpoint character an undefined nobody. Make them a definite somebody who, deep down, is exactly like us. Let’s discuss some great viewpoint characters in the comments!
NEWSFLASH This seems a good moment to mention that I’ve got a whole bookful of advice on characters. And the eagle-eyed among you will notice that the title has been tweaked. Why? I realised the original title Bring Characters To Life was rather ho-hum and didn’t explain why you should go to the effort of making characters believable. So it’s now called Writing Characters Who’ll Keep Readers Captivated – which is, of course, what it’s all about. Plus it scores better for SEO, which should work magic in searches (nobody would think to search for Bring Characters To Life unless they already knew about it). The new cover and title will take a few days to percolate through all the sales channels, but if you buy it you’ll get the updated look. Do you think it’s an improvement?
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Last time I discussed ways to make dialogue scenes easier to write. But dialogue is more than just what characters say.
Dialogue is action
Dialogue is a kind of action scene. Although the conversation is the main focus, the characters are more than just mouths.
Make the characters respond to each other
There should be give and take. A good scene will give a sense that something in the story has changed; in a dialogue scene you can make the conversation cause this change. And if so, the characters should respond to each other – listen, be surprised, perhaps refuse to accept. They could change each other’s minds or become more entrenched in their wrongheaded mission. Maybe strengthen their supportive relationships; deepen rifts and conflicts.
Some writers try to make the characters express everything in speech. For a radio play, that’s probably a necessary evil, but for a novel it’s not ideal.
It can also undermine the power of a character’s response. For instance, if a character has been upset, writers often try to put this in words – an understandable urge as they’ve got used to writing lines.
So I’ll see a lot of dialogue that goes: ‘how could you say that, I’m your best friend, I feel very hurt’ as they flail to convey the enormity. But not everyone is articulate and voluble when upset. Characters might react with a moment of silent shock, a gasp, an unguarded facial expression. Or they might stand up and put on their coat.
If you’re struggling to think of the right words in such a scene, consider whether you’re forcing the character to articulate when they would not.
Less drastically, you can build in other actions and reactions. I often see scenes where characters are sitting dummy-still while they’re talking. But most people get quite busy when they’re involved in a conversation. They might betray nervousness by kicking the table leg, or fiddle with their cuffs while they think. Even if the characters are on the phone – and therefore most of the communication is verbal – they are doing a lot more than simply speaking. They’ll be grimacing, smiling, biting their nails, straining to hear through a bad connection.
Once you start adding the non-verbal responses, you usually find you can refine the lines that are said out loud. If a character points across the loch at a monster, they might not need to say ‘look at that monster over there’ (thank you, Dave and Jamie, for the demonstration in the picture). If you edit the gestures so that they work with the spoken words, you make the point better. And you keep all the reader’s sensory channels open.
Don’t forget the setting
In the pressure to get the dialogue flowing, the writer sometimes forgets the environment. Then suddenly the character will stir their coffee. (Hooray for lattes, BTW: with just one prop you can slurp foam, add sugar and twiddle spoons.) But the environment is there all the time. If we don’t have continual low-key reminders, there can be a jolt when it returns to the scene. I often see long exchanges of chit-chat, then a sudden reference to the mahogany desk the character was sitting at – but the environment of the scene had long since disappeared from the prose.
A really vivid scene will keep the setting in the reader’s awareness. And that’s not just visuals, but sounds too – readers need all their senses fed.
A word of caution, though; it’s very easy to overdo. Details like this can get intrusive and irritating, so it’s better to use the setting to create natural pauses as the characters are talking, or when they need a beat to think. And don’t write ‘she thought’, try: ‘a police siren wailed in the street outside’, which will create the pause in the reader’s mind. It’s even better if you can make the environmental action echo an emotional point of the scene – for instance, a customer at the till who is arguing about his change.
These are ways to make a dialogue scene more fully rounded. And of course, there’s a whole other level under the words: the subtext. We’ll look at that next time.
For now, though, give me your thoughts: do you have to do separate passes to add these elements to dialogue scenes?
There are more tips on character creation, character voice and dialogue in Writing Characters Who’ll Keep Readers Captivated: Nail Your Novel 2
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One of the deadly sins of writing is the ‘head-hop’ – inconsistency with the narrative point of view. The writer will be following one character’s perspective, then forgets to keep to it, or switches to another in a way that creates a logic hiccup.
The problem is often subtle, which is why it’s hard to spot in your own work. If you asked the reader what was wrong they might not be able to explain it. But they’ll sense something’s off and you’ll have lost your grip on their imagination.
First-person narratives usually don’t have this problem. The writer is usually extremely aware of what the character can and can’t know. (And often realises they need devices such as letters and diaries to get information across.)
But not all stories are written from one perspective only. Perhaps we have many characters whose experiences count. Or an omniscient narrator who contributes observations from time to time. Once you have these multiple voices, you need to be strict about how you handle them.
Here are my tips for keeping multiple POVs in control.
1 Stick with one POV per scene
Simple is usually best, so write each scene from the experience of just one character, making the POV clear in the scene opening. What if two equally major characters have a dramatic scene? I’ll discuss that below, but let’s get into good habits first.
Some novels with multiple POVs name their chapters according to who is ‘speaking’. Deborah Moggach’s Tulip Fever hops around a large cast in short chapters, each following the experience of one character. Gillian Flynn’s Gone Girl alternates between the male and the female accounts in different timelines, and the headings allow her to show who’s talking and when the action is happening.
Of course, many other novels use multiple POVs without chapter headings, and that’s fine too. But if you get confused about what you can and can’t show, put them in your draft to focus your mind. Or tint the text in a colour according to whose experience we’re following. Later, remove these props and you should have a logically flowing story.
3 Establish the POV pattern early on
At the beginning of the novel, you need to establish the rules your narrative will follow. If you’re going to circulate through a big cast, give each of them an early chapter, then we’re prepared for the pattern. If you stick with one character for a while and then switch, you might need a more obvious signpost such as a chapter or section heading to ease the gear-change.
Want to narrate some of your book as first person and some as third? No problem. Charles Dickens writes some of Bleak House in first person, following the experience of Esther Summerson. Her honest, diary-like narrative is a warm contrast to the conniving characters in the Dickens-narrated sections.
Deborah Moggach presents one of her Tulip Fever characters as first person, and explained on BBC Radio 4’s Book Club that she wanted the reader to understand some of the cruel things she does. Everyone else is close third person.
Moggach’s device of the headings also allows her to slip into omniscient distance – to convey time passing and chaos settling. One chapter is ‘Autumn’; another is ‘After the storm’.
But whatever you do, stick to it. If you begin by narrating one character as first person and change them to third, you risk disorientating the reader unless you have set up a mechanism for them to understand it. (And preferably a reason why they should bother.)
5 Two key characters in one scene? Which POV?
Of course, some characters will have overlapping experiences. For these, you could:
- Pick the person who will have the most intense experience.
- Pick the person with the least intense experience and rely on the reader to intuit the turmoil in the other character (can be very effective, but needs setting up)
- Hop between their experiences in different paragraphs, but be very disciplined to make sure the reader is clear whose experience they are following. To do this might interrupt the flow of the scene, especially the dialogue. And often when I see writers do this, they’re missing an opportunity for more tension.
- Settle into one POV, then change. Start the scene from one character’s experience and after a while, make the switch. Do this with a break in the action, or even a line break, so that the reader understands to tune into a different experience. And it’s a one-time thing. Don’t switch back again. Moggach solves this by writing a chapter in one POV, then starting a new chapter from the other character’s angle and winding time back to revisit the episode. (Do you notice something important here? She never breaks her rule. She’s schooled the reader to expect a framework and she never breaks it.)
There are more tips on character creation, character voice and dialogue in Nail Your Novel: Bring Characters to Life
Have you seen other ways to handle multiple POVs? How do you do it? Have you seen the rules ‘broken’ to interesting effect? Let’s discuss!
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‘Tell me about pace,’ said one of the panellists in my video interview at John Rakestraw’s. If we hadn’t had a time limit I’d still be talking now.
A well-paced story is like an act of hypnosis. It has a travelling beat that takes control of the reader’s attention. It proceeds at just the right speed to trap the reader a little longer, urge them to turn another page.
How is it done?
With constant development and change.
You might assume pace is only a concern in fast-moving plots, such as thrillers. Not so. Every story will benefit if it is written with an awareness of pace; even a leisurely character journey.
Indeed, pace is a fundamental in most dynamic artforms – not just storytelling.
Video and music
If you’re making a video, you want to change something every 15 seconds. The change might be subtle, such as fading a colour, or panning a picture so the view reveals more. Or it might be obvious, such as switching to a different image or bringing in new music. Listen to a piece of music and you’ll hear how it’s being constantly modified. Even a simple verse/chorus/verse structure, which appears predictable, is developing. Other instruments are joining, variations are being made with the phrasing, note patterns or rhythm.
Singers do it too. When I used to take lessons, I was told that if a lyric is repeated, it must have different emphasis or emotion. (‘I get a kick out of you’ ‘I get a kick out of you’.) Listen to an actor repeat a line. The repetitions will not be the same (unless for a deliberate effect).
Law of physics
So audiences need change. This is, if you like, a physical law of any dynamic art. They need to be kept attentive while we have our wicked (or wonderful) way with them.
How can we do this in stories?
1 In a story, pace comes from change. Always be developing. In every scene. The change doesn’t have to be big. It can be tiny, such as the reader’s perception of a situation or a shift in a character’s attitude. But every scene should take the reader somewhere they didn’t expect. Scenes with no change lie flat on the page.
2 Remember the singers and actors. Look for repeated lines, emotional changes and plot events. If you repeat something, develop it or make sure it will be read differently – perhaps with new significance. (Unless you intend deliberately to keep it static.) Another type of repetition is the function of a scene – in My Memories of a Future Life, I jettisoned a scene that repeated an emotional beat I had already covered. Here’s the post that explains. This kind of repetition is hard to spot. The surest way I’ve found is by making a beat sheet, where I summarise the entire book by writing the purpose of each scene. This reveals the kind of repetition that will spoil the forward momentum. More about the beat sheet (left) in NYN1.
3 Don’t be slow but don’t rush. An ideally paced story keeps up with the reader’s need for change. Although we want to pull them along, we don’t want to overtake them. Paradoxically, if you do this, they might feel the story is slow. So when your trusted critique partners tell you a scene flags, it doesn’t necessarily mean you have to cut material. Try writing a version where you enlarge a moment, explore it more. See if that does the trick.
4 Use variety. Readers get numbed if too many successive scenes have the same tone (except at the climax). Vary the feel of each scene. Give readers a breather after major revelations. Give them a lighter moment or regroup around the campfire after you’ve put them through the wringer. Another way to use variety is to cut away to a subplot. The contrast will intensify the impact of all your scenes. Again, the beat sheet will show you this at a glance.
5 Become aware of your prose. Pace can come from your style. Not from show-off words or sparkling metaphors, but at a basic, moment-by-moment level. Virginia Woolf said ‘style is a very simple matter; it is all rhythm’. What might she mean? I like to think of it as the fall of syllables in a sentence. This is independent of length; a well-paced long sentence is as easy to read as a short one. But often we use more syllables than an idea needs; we cram in adjectives, adverbs and similes when we’d be better to choose a more vivid verb. (‘She shouted in a harsh voice’ or ‘she roared’.) A smooth sentence, though, makes every syllable count and uses them with grace. It has a quality of control, which keeps the reader in surrender to the writer’s mind.
Pace keeps a story alive and restless, makes it grow in the reader’s mind. It sets up an imbalance, a need for resolution. When this stops, you let the audience go. And the proper place for that is …
thanks for the runner pic Jacobo Garcia
Well that’s my take on pace. What’s yours? Let’s discuss!
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Just why are characters the cornerstone of fiction? I’m discussing this – and tips for creating irresistible story people – in the fourth of my pieces for the Writers & Artists website.
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The warm heart is the bond we feel with the central characters. It is the pleasure of spending time in their company. I hesitate to call it liking; it may not be so simple. Our attachment may be to just one person and their flaws and troubles, or it may be to a web of relationships. It is affection, but rough-edged. It is warm, but it might not be cuddly. It’s push and pull, trouble and strife, idiocies and idiosyncrasies. But it is where the reader feels at home.
And then there is the dark heart. The dark heart is jeopardy. The shadow at the end of the alleyway. The characters may have other problems in the story. They may fight miscellaneous foes. But the dark heart is an ultimate disturbance that will demand a day of reckoning.
Two long-running TV shows illustrate this in action. Fringe has both hearts. The central characters form a story family. Some of them are bonded by filial ties: the father, Walter; the son, Peter. There’s Olivia, the FBI agent who becomes Peter’s lover. There’s Astrid, a lab assistant sidekick who becomes a close friend. They are the warm heart of the show; the humans who have real and complex relationships and sally forth to do battle. And Fringe has its dark heart. The characters are on borrowed time; every day brings them closer to a confrontation they cannot escape.
One heart down
By contrast, Doctor Who, whose title character actually has two hearts, only has one of them working.
The story’s warm heart is in good shape. The Doctor and his TARDIS companion always have a vibrant relationship that brings us back week after week. We also get drop-ins from the extended story family: the Doctor’s wife; the occasional friendly alien he befriended while saving them. Previous companions are also available. This creates a galaxy family bonded by experience and affection.
The warm heart beats strongly. But the dark heart does not.
Now that might seem like nonsense. Doctor Who is all about getting into danger and fighting monsters, right? But they don’t treat these as seriously as they treat the character universe.
The threats are often negligible. Too often, the Doctor wins with a gadget, some fast-talking, an asspull or a vague wave of the omnitalented sonic screwdriver. He never has to raise his game to win. And the scriptwriters frequently bend the rules of their own show – thus disrespecting their own universe.
Although each series has an overall arc, which is where the dark heart should be beating its dreadful rhythm, it is false. It never produces a confrontation that will really put the Doctor on his mettle, or that could credibly destroy him. Even if the writers trick it up to look like that, he’s usually freed in one bound, and does not have to go through the wringer.
Because the writers don’t make us believe in the dark heart, the warm heart loses some of its power. You could say this demonstrates that we need the story to be taken as seriously as the characters are. Controversial.
Fringe goes one step further to genius. Here is why: the warm heart created the dark heart. Walter Bishop committed a crime that started an epic war. His son died, and so he opened a wormhole to a parallel universe and stole him back. The flawed warm heart let the dark heart in.
In a great story, the warm heart and the dark heart pump each other with life. The dark heart makes the warm heart more precious. And the warm heart makes the dark heart more terrible.
Let’s discuss some stories – film, TV or prose – with warm and dark hearts. Buffy, anyone?
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Today, Jane Friedman has showcased an excerpt from the characters book on her blog, and she chose the tutorial where I explain this tricky balancing act. If you’re curious about the book – or if you simply want to know how much of your carefully crafted background to include – come on over and see.
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I post 4 to 5 useful writing links per day… and other stuffMy Tweets
- ‘The power of music and friendship’ – The Undercover Soundtrack, Paul Connolly August 27, 2014
- Find the style that fits the story – Jose Saramago’s Blindness August 24, 2014
- ‘Music to grieve by’ – The Undercover Soundtrack, Natalie Buske Thomas August 20, 2014
- Heroes and heroin – writing a character who has an addiction August 17, 2014
- ‘Music, grief and sibling rivalry’ – The Undercover Soundtrack, Lindsay Stanberry-Flynn August 13, 2014
- ‘Plundered people and rotten exploitation’ – The Undercover Soundtrack, Paul Sean Grieve August 6, 2014
- Self-editing masterclass snapshots: revision is RE-vision August 3, 2014
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