Category Archives: General Writing Tips

The long and short of it – Your sentences, that is — Rule #22 of 32 Simple Rules to the Writing the Best Novel Ever

Writing_A_Great_Novel

I’m dissecting the article Hunting Down the Pleonasm, by Allen Guthrie, using it as a cattle prod to search for little nasties in my manuscript.  Yep, you can join in the fun, too.  Let’s take a looksee at topic #22

22: Vary your sentence lengths. I tend to write short, and it’s amazing what a difference combing a couple of sentences can make.

Remember to be careful with this when you are trying to create a mood.  For instance, a string of short, choppy sentences can create tension when needed.  Overall, though, a mix of lengths in your text will bring it alive.

And while we’re here – watch those overly long sentences.  If a line is over 20 words, you may want to consider breaking that puppy up a bit.

 

Jennifer___Eaton

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Living up to your potential

Do you have a special gift and not use it? Why?

I think a lot of us do. I don’t draw. Well, I do, but I could have refined my talent and maybe found a way to do something with it. For a long time, I gave up writing. I just didn’t have time.

You know what?

It always felt like something was missing.

Now Available from Jennifer M. EatonOne of the things I’m discussing with Vanessa Chapman today is living up to your potential. It’s part of my blog tour for THE FIRST DAY OF THE NEW TOMORROW.

Vanessa’s interviews are always great fun. I hope you’ll stop over and say hello!

http://vanessa-chapman.com/2013/09/28/the-first-day-of-the-new-tomorrow/

But for now, what about you? What talent do you have that you leave dormant, hiding behind the scenes… and why don’t you set it free?

THEFIRSTDAYOFTHENEWTOMORROW-Banner

Make it Stink. Ain’t nothing wrong with smelly stuff — Rule #21 of 32 Simple Rules to the Writing the Best Novel Ever

Writing_A_Great_Novel

I’m dissecting the article Hunting Down the Pleonasm, by Allen Guthrie, using it as a cattle prod to search for little nasties in my manuscript.  Yep, you can join in the fun, too.  Let’s take a looksee at topic #21

21: Use all five senses in your descriptions. Smell and touch are too often neglected.

Wave that banner high and don’t forget about it.  So many times I have been stuck, needing that little extra “umph” in a scene.  Adding that little bit of extra sensory perception into a scene is awesome for really engaging your reader.

For instance, the smell of popcorn when you enter a movie theater.  The fragrance of roses dancing on the breeze.  The gritty surface biting into her flesh.

I don’t think there’s a better method of really engaging your reader than NAILING the sensory perceptions.

Do you have a favorite sensory perception?  How about a great example ina book your reading?

Jennifer___Eaton

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Torture Your Protagonist Rule #20 of 32 Simple Rules to the Writing the Best Novel Ever

Writing_A_Great_Novel

I’m dissecting the article Hunting Down the Pleonasm, by Allen Guthrie, using it as a cattle prod to search for little nasties in my manuscript.  Yep, you can join in the fun, too.  Let’s take a looksee at topic #20

20: Torture your protagonist. It’s not enough for him to be stuck up a tree. You must throw rocks at him while he figures out how to get down.

I just love this one.  Honestly, I fought this for a while in one of my novels.  I just loved that poor little MC so much.  My beta partner screamed at me to torture him, but I couldn’t.

Of course, now I have grown.  If he has to get across the street, he will have to weave in and out of umpteen explosions as the alien bear down on him, only to get to the other side to be caught in a tractor beam, and while he is immobilized, his girlfriend gets beaten up by an alien…. Okay, that’s not a real plotline of one of my books (yet-Tee hee) but you get the picture.

Easy is boring.  Never make it easy.  This goes back into adding conflict. Each time you sit down think: “How am I going to torture him/her today?”

And then don’t be all nice and wuss out.  LET HIM/HER HAVE IT!  They will forgive you after they get their happy ending.

Jennifer___Eaton

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Don’t sleep with him/her? Rule #19 of 32 Simple Rules to the Writing the Best Novel Ever

Writing_A_Great_Novel

I’m dissecting the article Hunting Down the Pleonasm, by Allen Guthrie, using it as a cattle prod to search for little nasties in my manuscript.  Yep, you can join in the fun, too.  Let’s take a looksee at topic #19

19: Don’t allow characters who are sexually attracted to one another the opportunity to get into bed. Unless at least one of them has a jealous partner.

Umm…. What?

I’m staring at this, and trying to think about novels that were good, where there was a little bedroom time, but no jealous lover.

I have to admit… there are a lot… and they are fine. A sexual triangle just is not the main conflict of the story.

Sometimes the strong relationship between two characters makes the overall conflict (not necessarily a jealous partner) a deeper conflict, because the characters really care about each other.

Maybe Allen Guthrie has never read a romance novel? Maybe he just doesn’t like to read bedroom scenes?

What’s your take on this?

Jennifer___Eaton

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Goals and Obstacles in every scene – Rule #18 of 32 Simple Rules to the Writing the Best Novel Ever

Writing_A_Great_Novel

I’m dissecting the article Hunting Down the Pleonasm, by Allen Guthrie, using it as a cattle prod to search for little nasties in my manuscript.  Yep, you can join in the fun, too.  Let’s take a looksee at topic #18

18: Give your characters clear goals. Always. Every scene. And provide obstacles to those goals. Always. Every scene. If the POV character in a scene does not have a goal, provide one or cut the scene. If there is no obstacle, add one or cut the scene.

I have talked about this with almost every beta partner I ever had.  Why?  Because my first few beta partners spoke to me about this, and when I started listening, things started coming together for me.

This is where we start having to ax out “Little Darlings” – those scenes where two characters have a nice conversation, but NOTHING ACTUALLY HAPPENS.

Make sure every scene has conflict, and if it doesn’t chop it out.  If it is important to you, you can always post it as an “extra” on your website.  [Smile]

Jennifer___Eaton

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They’re not psychic – Rule #15 of 32 Simple Rules to the Writing the Best Novel Ever

Writing_A_Great_Novel

I’m dissecting the article Hunting Down the Pleonasm, by Allen Guthrie, using it as a cattle prod to search for little nasties in my manuscript.  Yep, you can join in the fun, too.  Let’s take a looksee at topic #15

15: While it’s good to assume your reader is intelligent, never assume they’re psychic.

Ha!  You all KNOW exactly what I’m thinking all the time DON’T YOU??????

I am sooooo guilty of this that it’s not funny.  The thing is, that I can’t pick up on it myself.  This is where my beta readers are indispensable to me.

I know what I’m thinking, so a scene “looks” the way I want it in my head.  The problem is, I don’t always show or describe the scene to my readers. Since I have not mastered this myself, I cannot give great advice on it… but I can say that if your beta readers “don’t get it” your readers will not have that psychic link either. Trust your betas.  They’ll tell you when they have no idea where your characters are.

Have you ever had a scene just start up, and never told the reader where it is? Then you’re guilty too!

Click to Tweet:

While it’s good to assume your reader is intelligent, never assume they’re psychic.

Why beta readers are indispensable to even the greatest writers.

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Click here to tweet: Your readers aren’t psychic. Rule #15 of 32 Simple Rules to the Writing the Best Novel Ever from @jennifermeaton http://wp.me/p1HIMV-1Fq

_JenniFer____EatoN

Stop “Saying” Things — Rule #14 of 32 Simple Rules to the Writing the Best Novel Ever

Writing_A_Great_Novel

I’m dissecting the article Hunting Down the Pleonasm, by Allen Guthrie, using it as a cattle prod to search for little nasties in my manuscript.  Yep, you can join in the fun, too.  Let’s take a looksee at topic #14

14: Use ‘said’ to carry dialogue. Sid Fleischman calls ‘said’, “the invisible word.” That’s not quite true (anyone who doubts this should track down a copy of Fletcher Flora’s Most Likely To Love), but it’s close enough. And don’t use adverbs as modifiers. Adverbs used in this way are ‘telling’ words (I told you rule 8 was rarely heeded!).

I’m going to partly agree here.  If you need to point out who said something, say:

“Mom went to the market,” Paul said

Now, to be clear… don’t spruce it up by saying “said hastily”, or “said sorrowfully” – That is what he is talking about with adverbs.  Use just plain old said and let the action around the word do the description for you.  Never add an “ly” word, and never say “he groaned” or “he snickered.” Use plain old said.

Now let’s talk about the “invisible word” thing. Said IS invisible, but only to an extent.  A recent editor I had challenged me to get rid of 90% of the word “said” in my manuscript. I exchanged it for actions instead of dialog tags.

Paul leaned over the counter. “Mom went to the market.”

See, there is no confusion as to who is speaking, and I got a little action in to.  The scene flows better.  I couldn’t believe the difference in my manuscript.

I just took a gander at my finished manuscript for “Fire in the Woods” and in 253 pages I only used the word “said” 133 times.  I scanned the first 32 pages, and most of those “saids” are in dialog or internal thought.

“You were supposed to stay home.”

“You said to stay home last night. I went out this morning.”

In those 32 pages, I had only used “said” as a dialog tag three times. (Yes, I am quite proud of that.)

If you are in the middle of a conversation, and you end every few sentences with “he said” or “she said” that little word is not going to be invisible anymore. It will drive your reader nuts.

I think I’ve suggested this exercise before, but I’ll do it again.  Challenge yourself.  Try to remove every “said” as a dialog tag.  You will need to leave a few, but if you can get rid of every occurrence possible and change it up with actions, your manuscript will be ten times stronger.

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Click here to tweet: Stop “saying” things. Rule #14 of 32 Simple Rules to the Writing the Best Novel Ever from @jennifermeaton  http://wp.me/p1HIMV-1Fk

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No Confusion! Rule #13 of 32 Simple Rules to the Writing the Best Novel Ever

Writing_A_Great_Novel

I’m dissecting the article Hunting Down the Pleonasm, by Allen Guthrie, using it as a cattle prod to search for little nasties in my manuscript.  Yep, you can join in the fun, too.  Let’s take a looksee at topic #13

13: Don’t confuse the reader. If you write something you think might be unclear, it is. Big time. Change it or cut it.

I admit that I’ve written things that betas have said are confusing.  I brushed off their comments, and then when the second person was confused I shook my head..because, sfter all, I explained it RIGHT THERE.  Right?

Yeah, and then the third beta comes along, and you have to suck it up and admit that you might not be as brilliant as you thought you were.

Yeah, I hate that too.

But Guthrie makes a good point.  It you read something in your first draft, and you wonder if it might be confusing… just take for granted that it is and re-write it.  If you have an inkling that something needs extra work, you are probably right.  Better to fix it now than look like a big silly head when your beta readers get a hold of it.

Are you apt to change something that might be confusing, or do you wait to see if anyone points it out to you?

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Click here to tweet: Don’t confuse the reader. Rule #13 of 32 Simple Rules to the Writing the Best Novel Ever from @jennifermeaton 

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Rule #11 of 32 Simple Rules to the Writing the Best Novel Ever

Writing_A_Great_Novel

I’m dissecting the article Hunting Down the Pleonasm, by Allen Guthrie, using it as a cattle prod to search for little nasties in my manuscript.  Yep, you can join in the fun, too.  Let’s take a looksee at topic #11

11: Avoid sounding ‘writerly’. Better to dirty up your prose. When you sound like a writer, your voice has crept in and authorial intrusion is always unwelcome. In the best writing, the author is invisible.

My take on this, is to not always be perfect.

I have to admit… I’ve started sentences with “and” and “but”.  Correct?  No, of course not.  So why do it?

VOICE.

Voice is very important, especially in first person. Your character is narrating the entire story.  Do YOU think in complete sentences?  No, of course not.

We need to write how it is believable.

I recently had an editor try to “correct” this paragraph of dialog:

“You’re pretty, and have nice legs, and beautiful brown eyes, and an amazing smile if you’d ever use it, but you can’t see all these great things because you’re always too hung up on wishing you had what everyone else does.”

They wanted me to change it to be grammatically correct.  Their suggested edit:

“You’re pretty, have nice legs, beautiful brown eyes, and an amazing smile if you’d ever use it…”

The reason I pushed back on this is because the character is very emotional and upset.  He is rattling off a list of things popping into his head (and not thinking at all what he is saying)  The editor’s suggested change made it sound like he was dictating a letter with no emotion at all.

Luckily, despite not being ‘correct’ – my dialog stayed.  It is more believable this way, and conveys ten times the emotion.

Have you ever had to defend your choice of “bad” grammar/style?

Click here to tweet: Write bad to write good. Rule #11 of 32 Simple Rules to the Writing the Best Novel Ever from @jennifermeaton

_JenniFer____EatoN