What is flash fiction?

Flash fiction prioritizes a single powerful moment, theme or character sketch. It must deliver and do it fast. That means that the complex narrative, complete plot, well-developed characters and setting are presented in fewer than 1500 words, and some are as short as one sentence. To write so succinctly and well requires an efficient storytelling style and clever use of language because even though flash fiction is short, it’s not just a bare-bones story. The word count might not be long, but the length does not inhibit the storytelling.

The difference between flash fiction and other short story forms

Flash fiction and short stories are terms that are often used interchangeably. However, they do vary a bit. Flash fiction is often referred to as micro-fiction, nano-fiction, postcard fiction or sudden fiction. It can tend to leave out many of the details that might be included in a short story. For example, much flash fiction focuses on a single theme and conflict to create an impact and may have limited characters (one or two is often enough). Think of a tweet that sums up everything in a limited character count and you start to get the idea of what’s involved. There’s even a kind of flash fiction called twitterature that contains less than 280 characters.

There are many elements that make up flash fiction, including a good plot, few characters, showing not telling, a plot twist and concise writing style.

RELATED READ: Is There a Formula for Writing Fiction?

Some benefits of writing flash fiction

It improves writing

Writing flash fiction helps writers explore how they can convey a depth of meaning in very few words. It requires an element of discipline to keep the story short and that can push the writer to new realms of creativity and understanding of language. Many famous writers began as journalists, think Hemmingway and Steinbeck, learning to pare down their writing for the succinct news article, before adding colour to it again.

Overcome writer’s block

Flash fiction can help with writer’s block because it forces the writer to come up with a very specific plot with simple, focused ideas. If they’ve been struggling to write, pairing it down to only what is required can actually help drive them forward.

It can be fun

Despite some of its limitations, the challenge of writing flash fiction is part of the fun of the genre. In flash fiction, the writer doesn’t need to be eloquent, wordy or even particularly clever. They just need to get their meaning across.

Tips for aspiring flash fiction writers

Grab the reader’s attention

The first sentence is often key to a good flash fiction story. Ask an intriguing question, highlight a contradiction or start with some action and the writer will throw the reader right into the middle of the story. If it can ground the reader in a character or place and introduce the conflict in an opening line, it hits the ground running. Here are some examples:

“The boy at the water’s edge doesn’t give a shit about the Little Lending Library his mom planted in their front yard” (A Weird Beautiful Thing, by Kelle Schillaci Clarke)

“The day Brad Pitt follows me, I run a mile in under nine minutes” (The Brad Pitt Method, by Abbie Barker).

Engage all five senses

Setting elements are very important in flash fiction and should use smells, sounds, tastes, textures and visuals to create the scene and link it to an emotion or memory to help explain how the reader might feel. Here’s an example:

“Remember the night out on the lawn, knee deep in snow, chins pointed at the sky as the wind whirled down all that whiteness? It seemed that the world had been turned upside down, and we were looking into an enormous field of Queen Anne’s lace. Later, headlights off, our car was the first to ride through the newly fallen snow” (Snow, by Ann Beattie).

RELATED READ: Ideas for Developing a Story

Content and structure

The content and structure of flash fiction is important given the need for brevity. It should have a complete plot. This can be written as a type of shopping list featuring all the major elements needed, or in the form of a letter or from a narrator’s perspective with a particular point of view. You could even experiment with a stream-of-consciousness technique. However, the plot should be strong and complete with the usual twists and turns to engage the reader.

A climax

Like all good stories, flash fiction needs an unforgettable climax to the story. Action or tension should intensify throughout the plot to reach this culmination point or big reveal. In this way, the readers stay hooked until that moment when all matters become clear and are resolved.

Here’s an example of an ending from Hatched by Nicole Rivas when Lily agrees to have a date with someone in their car-house to see how they live and if she can handle it. It doesn’t end well.

But my foot was already heavy on the gas pedal by then. The sound of crunching over boxes filled with trinkets and paper, etc. In a brief moment of regret, I glanced at Lily’s form in the rearview mirror. She had found the tongs after all. She was already using them to sift through what little remained of me.

Conclusion

Good flash fiction can convey truths, emotions and powerful messages in just a few short paragraphs and resonate powerfully with readers from all walks of life. For writers seeking a new challenge and a chance to really hone their craft, flash fiction offers an incredible chance to play with ideas, dig through old notes for inspiration, utilize unused scenes and produce something just as powerful as a longer story. If you’re up for the challenge, try flash fiction.

The post What Is Flash Fiction? Your Guide to the World of Miniature Masterpieces appeared first on Firstediting.com.

But what makes fantasy so very bewitching? And which essential fantasy elements should you include in your writing if you want to craft a complex magical world?

Let’s jump right in.

The Allure of Fantasy Fiction

Before we get into the ins and outs of the perfect fantasy story, let’s quickly go over why fantasy is such a popular genre in the first place:

• Fantasy allows us to escape into imaginary worlds and feel a sense of childlike wonder among the difficulties and responsibilities of adulthood
• Fantasy is an excellent tool through which we can explore the complexities of our own political and societal structures while keeping things on an abstract level of thought
• Fantasy stretches the limits of the imagination, portraying the impossible in a way that is credible and makes sense
• Fantasy is great fun, plain and simple

RELATED READ: What Editors Look for in an Epic Fantasy

4 Vital Fantasy Elements

Crafting a compelling fantasy story isn’t just fun and games.

Sure, there’s plenty of that as well, but when it comes down to it, a fantasy narrative comprises multiple different elements, each of which brings its own set of difficulties…

1) Your World Setting

World-building is one of the most important – and most difficult, may I add – parts of fantasy writing.

And that’s because you’re creating a brand new society here. You aren’t just drawing a map or coming up with new kinds of animals – you’ve got to really dig deep into how this world works, how one thing affects ten different ones, and why your reader should trust you that you’ve got it all under control.

When crafting your world setting, explore each of these elements in depth:

• Fauna and flora
• Climate and weather
• Urban planning and architecture
• The rules and laws of the society
• Traditions, customs, fashion
• Politics
• Economy and international relations
• Agriculture
• The daily life of an ordinary person living in your world
• Myths and religion
• Language
• Values

Once you begin to go down the rabbit hole of each of the points above, you’ll soon realize that everything is interlinked. The state of the economy has an impact on the daily life of a regular citizen; a ruler’s religious beliefs influence the architecture; what a society values impacts how their societal structures function.

It’s all connected.

And you, the author, are in charge, which means you should know a great deal about… well, everything. 

In fact, most writers know more about their worlds than they ever divulge to the readers.

 2) Your Magic System

Of course, a proper fantasy narrative wouldn’t work without some kind of magic. From dragons to spells or supernatural powers, there are endless possibilities writers can choose from.

But proceed with caution – your magic system should make sense. As Oscar Wilde once said, “Man can believe the impossible, but man can never believe the improbable.”

Although we’re talking about magic here, it still has to be rooted in some form of logic, so remember to keep these considerations in mind:

• Rules determine the parameters of how your magic works (Harry Potter has to use a wand in order to cast spells and Daenerys Targaryen likes to take baths in boiling water, therefore she can’t be scalded no matter what)
• Limitations show that your magic isn’t without limits and that it takes skill to be able to navigate it properly (Harry has to learn how to cast spells, which takes a lot of time and hard work, while Daenerys has to look after and train her dragons)
• Costs and dangers remind us that everything is built upon balance and that it is impossible for magic to only ever grant us the good things in life (wizards who dabble in the Dark Arts may lose their humanity and rulers who use their powers as a tool to subordinate others might cause a great deal of destruction)
• Origins explain where your magic comes from – for example, it could dwell in special objects, manifest in humans by chance, or exist in certain plants

Remember: your magic system has to make sense, no matter how fantastical.

RELATED READ: Fantasy Genre: A Look into This Charming Genre’s History

3) Your Fantasy Characters

No narrative would be complete without its hero, and fantasy is no different. When creating your characters, don’t forget the most common archetypes used in fantasy fiction:

• Hero (Harry Potter)
• Rival (Malfoy)
• Villain (Voldemort)
• The hero’s sidekick or friend group (Hermione and Ron)
• Mentor (Dumbledore)
• Love interest (Cho and Ginny)
• Jester/Comic relief (Fred and George)

Pro Tip: Your protagonist is the eye through which the reader gets to know the fantasy world. If the hero is new to the world and has its rules slowly explained to them, we are learning alongside our protagonist, but if they’re already integrated into the fabric of the magical society, you must be much more careful when revealing certain information.

In other words, try not to info-dump and naturally weave new information throughout the plot.

4) Your Fantasy Plot

While the fantasy genre’s requirements differ from, let’s say, literary fiction, certain elements remain the same no matter which genre you’re writing.

And that’s the plot.

It doesn’t matter if you’re telling the story of a sorceress, a geography teacher from Manchester, or a historical figure – they should all follow a narrative structure that consists of:

• The status quo (introducing the protagonist’s world at the beginning of the book) and the catalyst (an event that changes the hero’s circumstances and forces them to go on a new journey)
• Rising action (the part where the hero learns to navigate the new world and is faced with challenges)
• Climax (a big battle or the point where everything comes to its natural peak)
• Falling action (tying all loose ends)
• Resolution (wrapping up)

This is only the 5-point dramatic arc, however. There are plenty of different narrative arcs out there, from the 8-sequence structure to the 15 beats described in Save the Cat! Writes a Novel.

Whatever narrative arc you choose to follow, the result ought to be the same: your hero goes on a new journey full of magic or fantastical elements, overcomes certain obstacles, learns some valuable lessons… and is never the same.

Conclusion

A successful fantasy story lies upon the same basic foundations as every other narrative: a well-organized plot and a set of well-developed characters who go through important changes as the story moves forward.

However, it includes the added elements of complex world-building and a good magic system, which makes the whole business of writing a novel much more complicated.

As a fantasy writer, I can honestly say I wouldn’t change it for the world, though.

After all, it is the complexities of building a brand-new world and playing around with different fantasy elements that make writing so incredibly fun.

The post Worlds Unbound: Exploring the Essential Elements of Fantasy Fiction appeared first on Firstediting.com.

No matter whether you are a planner or a pantser, or anything in between, you have probably encountered writer’s block. Perhaps you’re not sure what happens between the second plot point and the climax, and you can’t write any further until you find out. Or, perhaps your characters are refusing to tell you the key to completing their character arc. All writers go through a period where they are lacking inspiration or motivation. Here are 6 unconventional methods to help you write a novel when you have writer’s block.

RELATED READ: How to Come Up With a Killer Plot Twist

1. Create Your Characters

Characters and the decisions they make drive the narrative forward, so it’s important to know who they are and what they want in life. If you’re struggling with naming your characters, look up meanings on baby naming websites and match your character with a name that is telling about their personality or culture. If their personality is still unclear to you, a unique way to get to know your characters is to take the free 16 Personalities test from the perspective of your character. Understanding whether your character is a strategic “Architect,” an enthusiastic and creative “Campaigner,” a practical “Logistician,” or a spontaneous “Entertainer” will help paint you a picture of their strengths, weaknesses, and desires. Once you understand their personality, browse images of actors and celebrities who might look like your character. Create a Pinterest board with images of their hair and eye color, their clothes, and their hobbies. Let your imagination soar.

2. Make an Aesthetic Board

Another use for Pinterest is to create an aesthetic mood board that captures the atmosphere of your novel. Think about your setting(s) and major themes, tools, and overall vibe of your novel. For example, if your novel’s is an urban rom-com, think warm colors, sunshine, and pastel colors combined with skyscrapers, cozy apartments, and vibrant streetlights. On the other hand, if you’re writing a thriller, think cooler colors, rainstorms, and graveyards. Think about the images in your head and transfer it into a visual medium. This will make your abstract concepts become more concrete.

3. Write Scenes Out of Order

Believe it or not, you don’t have to be confined to writing your novel in a linear fashion. If you get stuck in the middle of a chapter, tag it as an unfinished scene and come back to it later. If you’re a visual person like me, you can write your chapter summaries on notecards and lay them out, reorder them as needed, or even organize them based on the chapter’s POV character. You can do this on standard notecards, or digitally on a writing software like Scrivener. Write the scenes as they come to you, then reorder them later.

4. Create a Playlist

If your novel were a movie, what would be the soundtrack? Find music that fits the “atmosphere” of your novel, or even individual characters. Listen to the lyrics, pay attention to the instruments, and let your mind wander around the world you’re building. Think of it as a “mood board” for your ears. Create a playlist specifically for your novel or different characters. If your novel takes place in our world, what music might your characters have listened to? If your novel takes place in a fictional world, what music best fits the atmosphere? Go down a musical rabbit hole and find songs that fit the “flavors” of your novel.

RELATED READ: How to start a story: Tips and ideas

5. Write From a Different Character’s POV

If you’ve reached a block with your protagonist, try writing from a different character’s point of view. How might your protagonist’s friend, family member, or even antagonist or, perhaps, a minor character, react to the events of the story? This opens up a new world of possibilities, because each character has their own personality traits, background, and experiences that will affect the way they react to different plot elements or other characters. Sometimes you will realize that the novel was lacking something that a new character’s POV will fix—or it will just be an exercise to foster your creativity. Whether or not it makes it into the final draft, you will gain insight into your novel just from approaching it in a different way.

6. Experiment with Form

Sometimes writing paragraph after paragraph of prose can feel overwhelming. Experimenting with hybrid forms might spark inspiration for you because it allows you to think about the way the narration can be conveyed. Consider writing your novel in verse, vignettes, or an epistolary form. Writing a novel in verse means the narration is conveyed through poetry. Many well known verse novels are in the YA genre, such as Crank by Ellen Hopkins and What My Mother Doesn’t Know by Sonya Sones. Writing a novel in vignettes use short descriptions, accounts, or episodes that connect into an entire narrative arc. These are found in books such as In the Dream House by Carmen Maria Machado. An epistolary form entails writing the novel only using letters or diary entries, such as Dracula by Bram Stoker or The Perks of Being a Wallflower by Stephen Chbosky. There are numerous other forms you can experiment with. Try writing a scene in your novel using one of these forms as a writing exercise. Perhaps you may even find that your novel is more effective using this form!

These are only six methods you can try when writing your novel, and there are many more. Use these methods when you don’t know what comes next or your novel becomes stale. You might find that one or more of these methods helps you overcome writer’s block, find new perspectives, and foster your creativity.

The post 6 Unconventional Ways to Write a Novel appeared first on Firstediting.com.

The narrative arc provides texture to the story’s plot, adding mountains and valleys among the sequence of events. If the plot only comprises a straight line from one event to another, the story is, literally, flat and uncompelling. However, when you add conflict, rising action, a climax, and a resolution, you have a plot with compelling texture that will leave readers on the edge of their seats.

Alongside the narrative arc is pacing, or the length between each plot element. Think of this as the distance between the mountains and the plateaus. A story requires fast pacing during certain plot elements, such as an action scene; and slower pacing, such as scenes about character development or bonding. A good story requires balance between the fast-paced scenes and the slower-paced scenes; otherwise, readers may become disengaged in the story.

Editors can pinpoint when a scene is rushing or dragging, based on the purpose of the scene and what the pacing requires. The key elements in a narrative arc each require a certain speed of pacing but can easily become too fast or too slow. Your editor will happily let you know which scenes need to pick up the pace or need to slow down and linger on a particular action, image, or emotion.

RELATED READ: Ideas for Developing a Story

Here are the key elements in a narrative arc:

Exposition

Exposition is information such as the backstory of a character or setting, or a descriptive explanation of the worldbuilding. Most of this information is crucial for the reader to know, and you might be tempted to start the novel with exposition right away. However, exposition is often accompanied by long blocks of text, and if you’re not careful, this may cause the pacing to move the story along far too slowly. It is best to sprinkle the exposition throughout the first half of the novel instead of burying the reader with it by placing it all at the beginning.

Rising Action

At this point, the conflict has been established and the writer is setting up the building blocks of the story. The protagonist is now struggling to overcome the conflict. The rising action takes up the majority of the plot. During this time, we see the character start changing from who they were at the beginning of the story. We see them develop friendships, enemies, romantic interests, and, perhaps, we even see them fail. The pacing usually varies from scene to scene. For example, a scene where the protagonist faces an obstacle might be a fast-paced scene. A slower scene may follow, in which two characters share their backstories. However, a quick succession of scene after scene may feel too rushed while one slow-paced scene after another may leave the reader feeling like they need to drag themselves through the novel. Remember, balance is key.

Climax

The climax is highest peak in the narrative arc and the highest point of tension. This is the point in the story where the protagonist must confront the antagonist—usually another character or an intangible concept, such as the protagonist’s fear—in order to reach their goal. Pacing is a great tool used to create tension at this point in the story. When used purposefully, fast pacing and slow pacing are both effective. Readers hearts will drop at short—even one-word—sentences, a sentence per line, or a single word per line. On the other hand, slowing the pacing down to linger on an action or an image can also thrill readers. Have you ever heard that time slows down during an adrenaline rush? Slower pacing can convey the feeling of the protagonist seeing in slow motion. And because the reader experiences the story through the protagonist’s eyes, the reader will feel this as well.

Falling Action

The falling action is the transition between the climax and the resolution. While up to this point, the narrative arc has been rising higher and higher, now is the point where it begins to descend. The story’s action has calmed and now we are left with the consequences immediately following the climax. Pacing here can play several roles. Perhaps the falling action consists of multiple brief scenes in which the protagonist ties up loose ends. Or perhaps the pacing is slower, in which one or more characters explain the events of the climax. Or perhaps there is a combination in which the paragraphs are broken by dialogue for the purpose of character development. The ideal pacing of the falling action varies from story to story, and editors can be on the lookout for whether or not the pacing is used effectively in yours.

RELATED READ: What Is Narrative Writing? Tips and Examples

Resolution

This is how the story ends. By this time, all loose ends are tied. The protagonist has completed their character arc and is noticeably different from who they were at the beginning. The ending doesn’t need to be happy, but it usually feels complete. During this stage, the pacing is usually slower but the scenes are also more brief. However, a faster-paced, action-oriented resolution might indicate a sequel.

The narrative arc and pacing work together to create a cohesive story experience. If a scene is dragging because of exposition and description, the reader might become disengaged. On the other hand, if we finally reach the climax and the conflict is resolved in a single page, readers will be disappointed by the rushed ending. When it comes to narrative arcs and pacing, balance is key.

Editorial Tips:

1. Read a scene aloud. If you’re stumbling over wordy phrases, or are out of breath before the end of a verbose sentence, the pacing may be too slow.’
2. Look at the white space in your Word document. If there is a lot of white space and a small amount of text, consider adding character and setting descriptions and a character’s internal monologue.
3. On the other hand, if you have large blocks of text that go on for multiple pages, try breaking it up with a dialogue or action beats.
4. Scroll through your document and watch the scroll bar on the right-hand side. You should be about 20% of the way through the document when your protagonist sets off on their (physical or emotional) journey. Any more than this means the pacing is too slow.

The post The Art of Storytelling: Editing for Narrative Arc appeared first on Firstediting.com.

Crafting a captivating novel is only half the battle. This webinar empowers writers with the essential tools to navigate the editing process, transforming their drafts into polished gems. This session equips you with the knowledge to:

Join us and unlock the secrets to a successful fiction editing journey!

The post FICTION EDITING ESSENTIALS – Free Webinar appeared first on Firstediting.com.

Most writers know they should ideally avoid using cliché in their writing, but what is a cliché in the first place? And how can you work your way around it?

Are there any instances when cliché can actually be a good thing? Which specific phrases should you throw out of your vocabulary right this second?

Today, we’ll unpack all of that – and more.

“When he looked into her eyes as blue as the ocean, he realized he was head over heels in love.”

The sentence above contains two clichés, both of which you’ve probably already guessed – comparing the colour blue to the ocean and using an extremely common phrase to describe the feeling of falling in love.

A cliché is essentially a phrase or an idea that was once considered novel and innovative but is now overused and old.

The first time someone said “Good things come to those who wait,” it was probably a huge hit. Over time, however, the phrase has been used in so many situations by so many people that it no longer contains the spark of originality it once possessed.

Clichés come in various shapes and forms, including:

• Comparisons (“red as a rose”)
• Adages (“better late than never”)
• Phrases (“last but not least”)
• Metaphors (“at the speed of light”)

Many writers can recognize a cliché when they see one because we’re such voracious readers that we can intuitively tell what’s new and what’s old.

However, that doesn’t stop us from using cliché in our own stories, which is why we also need to learn how to cut it out when necessary.

RELATED READ: How to use repetition as a literary device

How to Avoid Using Cliché in Your Writing

Overused phrases and predictable tropes aren’t necessarily bad in and of themselves –  there’s a reason they’ve been used so many times, after all – but they do signal unoriginality, which many readers may take an issue with.

This is why it’s important to banish most cliché from your fiction. I say “most” because there are phrases and tropes that serve a specific purpose, such as:

• Reaching the target audience (for example, certain generations can relate to specific phrases while some readers purposely seek the same tropes and plotlines, such as the “enemies to lovers” trope)
• Depicting a character’s personality in more depth (a character who lacks empathy, for instance, may try to cheer their friend up by saying “Look on the bright side!”)

Plus, sometimes, cliché just works. This is why it’s better to look at each of your clichés in the context of the story and determine for yourself whether you’d like to keep them or throw them out.

If you decide to do the latter, here are a few tips to keep in mind.

Don’t overthink it when writing the first draft. No one’s first draft is perfect. In fact, many writers create such chaotic first drafts that they are almost unrecognizable from the final product. Therefore, it doesn’t really matter how many overused phrases you write during this stage because you can always erase them later on. What matters most is that you get the story down on the page.

Replace it with something more original. Once you begin to revise and edit your draft, it’s time to take a closer look at your clichés and figure out the best way to replace them. Oftentimes, it is enough to simply cut them out, but if you want to describe the same sentiment using different words, try to think of comparisons and metaphors that aren’t as common.

For inspiration, you can look at the world around you and see whether something comes to mind:

• Plants and animals
• Household appliances
• Food
• Weather
• Buildings
• Culture

Ask your friends or beta readers for feedback. Once you’re ready to send your manuscript to others, jot down the specific phrases or tropes you’re unsure about and ask your friends for opinions once they’re done reading (not before – this way, they won’t look for it and will have an authentic reading experience).

RELATED READ: Literary Techniques: 10 Common Literary Devices You Should Know

Common Cliches: Examples

Cliché can be found in essentially everything, from specific phrases to dialogues and plotlines.

Phrases:

• “Actions speak louder than words”
• “All’s fair in love and war”
• “Think outside the box”
• “In the nick of time”

Dialogue and direct speech:

• “I’ve heard enough!”
• “A penny for your thoughts”
• “We’ll laugh about this later”
• “You take my breath away”

Descriptions:

• “She released a breath she didn’t know she was holding”
• “The silence in the room was deafening”
• “Her heart skipped a beat”

Tropes:

• Love triangle
• Enemies to lovers
• Rags to riches

Again, it’s important to remember that cliché can absolutely be written well. Many writers put an original spin on it, which means that a simple love triangle can turn into an intricate and deeply psychological exploration of the human psyche.

Plus, some readers just really want to read a typical slow-burn “enemies to lovers” story, which is also completely valid. It all depends on how you approach cliché and whether you manage to make it work.

Conclusion

Cliché is a bit of a double-edged sword (pun intended).

On the one hand, it can weaken your writing and make your story sound unoriginal or repetitive; on the other, it can be precisely what your target audience wants. This is why it’s vital to always research the genre you’re writing.

And if you do decide to use a cliché plotline, let’s say, try to put your own spin on it so that your story is the perfect blend of something your readers will love and something they won’t expect.

The post What is a Cliché? Banishing Overused Phrases and Tropes from Your Fiction appeared first on Firstediting.com.

Charlotte Bronte gave the main character in Jane Eyre these words: “I am no bird; and no net ensnares me: I am a free human being with an independent will, which I now exert to leave you.” It tells us much of Jane’s indomitable will.

Similarly, Antoine de Saint-Exupery had The Little Prince say: “It is only with the heart that one can see rightly; what is essential is invisible to the eye.” In this dialogue, we learn of his thoughts on loneliness, friendship, love and loss that are so pervasive to the story.

Dialogue is one of the most enjoyable parts of fiction writing, so let’s just jump straight in and embrace the ride.

The importance of dialogue in fiction

Dialogue characterises your characters. Apart from that being a mouthful, it means you learn a lot about a character from the way they speak. This includes things like their background, mindset, expertise or education, emotional state and current state of mind. Are they angry, sad, raging, nervous or otherwise? Show it in the dialogue.

Dialogue can also work as a way of filling in backstory. So rather than a boring narration with lots of detail, you can let the characters do the work and provide that through interesting exchanges.

Another great role dialogue plays is in breaking up the text. If you want to avoid long narrative passages, you can always throw in some dialogue. It also gives the reader another voice to listen to other than yours in the narrative. You can also add some variety between inner dialogue (thoughts) and extern dialogue (a conversation exchange).

RELATED READ: Is Passive Voice Really All Bad?

Common pitfalls writers face when writing dialogue

As with all kinds of writing, there are some things about dialogue to be careful of.

Long monologues. Monologue can play an important role in providing access to a character’s thoughts, but long stretches of it by just one character can be monotonous. Try to break it up through motion or action, such as a person performing an action while speaking that may demonstrate their mood, the setting, or another aspect that could add to the dialogue.

Exposition dumps. Dialogue is an excellent way to provide some backstory, as noted above, but be wary also of providing too much in one go. Pepper or layer it in if you can.

Unnatural flow. Speech is often not grammatically correct, and people don’t always speak in complete sentences, so don’t feel you have to make your characters speak the King’s English and use correct grammar, words or phrasing. It can make them seem stiff or unrealistic, particularly if you’re dealing with a subculture in which certain speech might be quite specific. If you’re not sure if it will sound alright, say it out loud. Another good way to create natural speech patterns is to listen to real-life conversations and take notes.

Too many speaker’s tags. The speaker’s tag is the he said/she said tag that indicates who is speaking. These are not necessary in every single piece of dialogue if it’s clear who is speaking. If two characters are having a conversation, a new paragraph will signal a change of speaker and the tag can be dropped.

Lack of any subtext. Dialogue is a fantastic way of communicating a subtext, such as the relationship between the characters, class differences through differing language, or vocabulary that hints at shared experiences. However, it can also be missed. Give your characters a voice, a chance to share commonalities or differences, and to speak up with quips and observations that provide that context.

Cut out small talk. Dialogue should add to the story, not be filled with small talk. Complete conversations aren’t always necessary. Snippets can be fine if they convey exactly what is needed to advance the story, and characters don’t have to always say goodbye at the end of the excerpt.

Overuse of a person’s name. It’s very tempting to name a character repeatedly in a story. After all, we want the reader to know who they are. However, in real life, that is not how we speak to someone, naming them in every sentence of dialogue. Introduce them once, and then get on with what they are saying.

Examples

Jane Austen is considered one of the masters of dialogue exchanges. She uses actions, reactions, and word choices that reveal a lot about a character’s feelings and motivations. Here’s a particularly well-known exchange from Pride and Prejudice showing Mrs Bennet’s chatty and gossipy characteristics, and Mr Bennet’s ability to vex her and enjoying doing it.

“My dear Mr. Bennet,” said his lady to him one day, “have you heard that Netherfield Park is let at last?”

Mr. Bennet replied that he had not.

     “But it is,” returned she; “for Mrs. Long has just been here, and she told me all about it.”

     Mr. Bennet made no answer.

     “Do you not want to know who has taken it?” cried his wife impatiently.

     “You want to tell me, and I have no objection to hearing it.”

     This was invitation enough.

     “Why, my dear, you must know, Mrs. Long says that Netherfield is taken by a young man of large fortune from the north of England; that he came down on Monday in a chaise and four to see the place, and was so much delighted with it, that he agreed with Mr. Morris immediately; that he is to take possession before Michaelmas, and some of his servants are to be in the house by the end of next week.”

J. R. R. Tolkien’s use of dialogue in his books is exemplary. Here is an excerpt from The Hobbit showing the difference between Bilbo and Gollum’s state of mind and way of speaking. They both have distinct character voices, and Tolkien introduces Gollum’s unusual speech patterns and use of the “my precious” moniker for the ring.

“What have I got in my pocket?” he said aloud. He was talking to himself, but Gollum thought it was a riddle, and he was frightfully upset. 

     “Not fair! not fair!” he hissed. “It isn’t fair, my precious, is it, to ask us what it’s got in its nassty little pocketses?”

     Bilbo seeing what had happened and having nothing better to ask stuck to his question. “What have I got in my pocket?” he said louder. “S-s-s-s-s,” hissed Gollum. “It must give us three guesseses, my precious, three guesseses.”

     “Very well! Guess away!” said Bilbo.

     “Handses!” said Gollum.

     “Wrong,” said Bilbo, who had luckily just taken his hand out again. “Guess again!”

     “S-s-s-s-s,” said Gollum, more upset than ever. 

RELATED READ: Literary Techniques: 10 Common Literary Devices You Should Know

Adding depth and emotion to dialogue

It’s very easy to be so focused on what your characters are saying that you forget to add action, setting elements or depth to the dialogue. You can do this through creating a setting to where the dialogue takes place. Use figurative language and sensory details to explain what time it is, what is happening around them, what they notice, and any interactions they have with their environment. Objects and weather can be used to heighten emotion. Perhaps the character plays with something when nervous, or a gathering storm might mirror their mood. These small observations can make the story more realistic and show how characters are interacting with their world.

Conclusion

Dialogue plays an enormous role in how much your readers will like your story, how your characters might come to life with their own voices and how they interact together. We rely on conversations to talk to each other and tell stories, so let your characters talk and help drive your plot through their own meaningful conversations.

The post How to Write Dialogue that Captivates Your Readers appeared first on Firstediting.com.

A short story is a joy to craft. Not only do you not have the challenge of a long novel, but you can be creative and have some fun at the same time. A short story need not be elaborate and contain fewer ideas and characters.

A lot of famous novelists have played around with the short story form to perfect their craft, so even if you aim to write books, it can be worth perfecting your short story craft first. It might even be the start of an idea that develops into a novel.

The challenge and allure of short stories

While a short story may not take as long to write, it can be a challenge to develop a compelling plot, excellent characterisation and all the core elements needed in a good story in such a short time. Hence the challenge and allure to do it well.

To make it a little easier, it helps to have some useful items in your toolbox like knowing how to structure it, understanding what core elements it needs and what techniques might enhance your story.

Sources of inspiration for short stories

A good way to get started on short stories is to read some of the best. Did you know Agatha Christie wrote over 100 novels, plays and short stories? She might be a good place to get started (see Tragedy at Marson Manor, The Mystery of Hunter’s Lodge or The Shadow on the Glass).

Ernest Hemingway (Indian Camp, Soldier’s Home, The Snows of Kilimanjaro), Virginia Woolf (The Mark on the Wall, Kew Gardens), and Graham Greene (The Destructors, The End of the Party) are also other options for inspiring literature.

RELATED READ: Five Essential Tips for Writing

Using a strong central idea

It is important to have a strong central idea or conflict to drive the story and form your plot. Just note that short stories don’t have the time or space for subplots. These will pull away from the focus of the short story. So keep it simple and central and leave the subplots to novels.

Core elements of a short story

Characters: Like all good stories, strong, central characters help move a plot forward through their actions or engaging dialogue. A good protagonist with big goals or motivations is someone the audience can get behind, with side characters who assist or oppose them.

Plot: A plot should have a clear beginning, middle and end, but there are variations on this and you can also tell a story backwards by jumping into the action, then going back in time to explain the events leading to that point. A beginning always introduces a plot and the characters, the middle develops the tension or suspense by highlighting the central conflict or dilemma that faces the protagonist(s), and the end provides a climax that resolves this conflict and provides an outcome for the central character(s).

Setting: The setting includes the time, place and sensory detail of the story. Objects, weather, sensations or feelings can all be used to create an emotional impact or heighten elements of the story.

Conflict: Conflicts are what give a short story its mojo. They help develop tension and angst, and propel the characters and the reader forward. Conflicts can be between a character and an internal struggle (maybe an emotion of fear that prevents them from accomplishing a goal), with another character, or a hostile environment (a society, war, particular circumstances, etc).

Theme: A theme differs from a plot in that it is present but might not ever be fully described, or there could be several themes running hand-in-hand throughout the story. For example, a plot could be about four boys that go looking for a dead boy along the railway tracks (The Body by Stephen King that was later made into the film Stand by Me) but engage in themes of growing up, coming from a dysfunctional family, dealing with death, and trying to make a future for themselves in a small town.

RELATED READ: The True Meaning of Show, Don’t Tell

Story structure concepts

The five main structural features of a short story are exposition, rising action, climax, falling action and resolution. Let’s take a look at these.

Exposition: This is the part of the story where you create a background for your plot, layering in characters and setting details. Generally, there is a main protagonist who is the main character the reader will follow throughout the story and we get an idea of what their life is like, who they are, where they live, and how they function.

Rising Action: In this part of the story, the protagonist will face a challenge or crisis that forces them out of their comfort zone and into action. This tension or conflict will be the catalyst to drive the story forward, as something will have to change to resolve the situation.

Climax: This is where the height of tension, action, suspense and drama culminates. The protagonist will face their ultimate test and the reader will be flipping through the pages to find out the final outcome.

Falling Action: This part of the story refers to events that follow the climax. If the protagonist has succeeded or failed, this starts to deal with the fallout of those particular events. Let’s hope it’s ended well.

Resolution: By now, all conflict has been resolved and the protagonist comes to grips with the outcome of either getting what she/she wanted, failing to get what he/she wanted, or failing but discovering they have something far better. How they resolve those issues make up this final part of the story, and it should (mostly) resolve all loose ends for the reader as well.

Three effective techniques to enhance your short story

Start near the end: You can pull your reader in straight from the get-go by telling them what’s happening at a particularly important part of your story, then going back and giving them the backstory that leads to this moment.

Pace: A short story is short by definition, so you don’t want to lose time in all the detail and a slow-paced plot. Get it going and keep it going to catapult the reader headlong through the entire story.

Keep character numbers short: In a short story, you don’t have the time to develop many characters in any detail, so it’s best to keep it simple. You may only need a protagonist and an antagonist. Give a reader someone to cheer for and someone or something to rail against and you will have the makings of an excellent story.

The post How to Write a Short Story That Thrills appeared first on Firstediting.com.

Ever since Karel Capek wrote the play R.U.R. in 1920 and coined the term “Robot”, the character vs. technology conflict has become a very popular literary device – largely because it reflects the dilemmas and struggles we face in the real world.

While getting chased by a robot sent from the future is still pretty unlikely, technology has radically shifted the nature of our day-to-day lives and relationships over the past century.

And since fiction often serves as a mirror to society, it makes sense that novels, films, and TV shows that centre around the character vs. technology conflict are practically everywhere.

Together, let’s explore the ins and outs of this conflict so that we can not only analyze it better but also craft more compelling stories ourselves.

Character Vs. Technology: How the Conflict Works

Character vs. technology is but one of many conflicts that are used in literature, including:

• Character vs. Nature
• Character vs. Character
• Character vs. Society
• Character vs. Supernatural
• Character vs. Self

In this particular trope, the main focus is usually on technology that has grown too powerful or that has gotten out of hand, propelling the character into action in order to save humanity or themselves.

Of course, the literary conflict has become so versatile now that character vs. technology stories contain a multitude of complexities and obstacles.

For instance, here are just a few different ways that technology can pose challenges to characters:

• Physical threats from robots or AI (e.g., R.U.R. by Capek or a Black Mirror episode called Metalhead)
• Moral dilemmas caused by advanced technology (e.g., surveillance themes in 1984 by Orwell or genetic engineering in Brave New World by Huxley)
• Psychological or physical dependence on technology and its downsides (e.g., a Black Mirror episode Nosedive)
• Loss of real-life human connection due to technology (e.g., Ready Player One by Cline)

RELATED READ: What Is Chekhov’s Gun?

Humans and Their Creations: Power Dynamics

The power of the character vs. technology conflict lies in the dynamic that is set up between humans and their creations.

Of course, AI, robots, or any technological gadgets are made up and created by humans, which automatically establishes an imbalance between the two players.

Humans typically have the upper hand at first, but once technology gains consciousness, realizes its own power, or becomes something humans absolutely depend on, the dynamic tips in technology’s favour.

And thus the conflict begins.

There are many different ways to go about this, for example:

• Humans struggle to control their creations (Frankenstein by Shelley)
• Technology evolves beyond human understanding or control (the movie 2001: A Space Odyssey)
• Humans and technology form complex partnerships where the dynamic continually shifts and changes (movies such as Star Wars or Iron Man)

In all literary conflicts, there are two opposite forces that clash with one another. Character vs. technology is no different.

However, what makes this conflict so very powerful and appealing to wide audiences is that it reflects our own concerns and struggles in a world that is more and more technologically advanced by the second.

Crafting Compelling Conflict: 3 Tips

It is often science-fiction or dystopian stories that bring incredible value to the literary realm due to their portrayal of a potential future, warning us of the dangers that we ought to avoid in the real world.

If you’re looking to write a story that centres around the character vs. technology conflict, here are three tips to keep in mind.

Explore existential or philosophical questions that get the reader thinking, such as:

• Can a robot become sentient? And how does one recognize sentience in the first place?
• Should humans have the right to create artificial sentient beings?
• Can technology replace human creativity and intuition?
• What makes humans unique?
• Should sentient robots carry the same rights and responsibilities as humans?
• Can a human fall in love with artificial intelligence?
• What is the psychological impact of relying on technology in one’s day-to-day life?

Create believable and impactful technological threats and challenges. Try to avoid repeating themes that have been explored in-depth before (a robot with supernatural strength who malfunctions, for instance) and seek out new and unique ideas that reflect some aspects of our reality and offer intellectual stimulation.

Clearly define the character’s motivations and values. The technology question is a complex one, and it’s important that you know where your characters stand and how their opinions evolve throughout the story.

For instance, a character who believes the robot standing before them is sentient and a character who views the robot as an artificial object will act completely differently, eliciting different reactions from the technological creation and therefore taking the story in different directions.

Research the genre to get a better idea of what’s been done before and what you’d like to explore in more depth. Speculative fiction is brimming with stories that provide a great deal of inspiration, be it Frankenstein by Shelley, Hunger Games by Collins, or Red Rising by Brown.

RELATED READ: Character Motivation: Types and Examples

Conclusion

Technology has always been an important question in the evolution of humankind, now more than ever before. From artificial intelligence that can answer any question and write entire texts to robots who have been granted citizenship, the conflict between humans and their technological creations is only growing stronger.

Fiction is an excellent way through which writers get to explore this topic in-depth while readers get to expand their view on the subject and think critically, helping all of us gain a clearer understanding of the world we live in.

The post Exploring Character Vs. Technology in Fiction appeared first on Firstediting.com.

“It was a dark and stormy night…”

Yep, something’s about to go wrong.

As soon as your eyes land on words such as these while reading a story, your instinct is to go, “Oh, no,” right?

This is because storm symbolism has been used in numerous works throughout centuries, inevitably etching itself into our subconsciousness. We’ve essentially learned to associate storms with chaotic and catastrophic events in stories, and so that is what we now expect.

But does storm symbolism go deeper than this? And how can you effectively use it in your own work?

Let’s thunderbolt through everything you need to know!

What Is Storm Symbolism?

In order to understand storm symbolism, we first need to unpack symbolism in and of itself.

Symbolism is a literary device that is used to represent certain ideas by relating them to something else, thereby playing with associations and symbolic meanings.

For example, a rose may represent romance or passion while a white dove could symbolize peace or forgiveness.

Weather symbolism works on the same principle. What do you think of when the skies are blue and the sun is shining? Lazy afternoons at the beach, picnics with friends, and warmth, right?

A storm, on the other hand… well, let’s just say it’s not exactly pleasant weather. Storms are uncomfortable, chaotic, and even dangerous, which means that comparing something to a storm automatically helps us understand its qualities without direct description.

“His eyes were a stormy blue” could hint at emotional turmoil underneath the character’s calm façade.

“Her presence was a storm” might serve to describe the character’s fidgety and impatient body language as she always rushes from one thing to another.

And there’s more…

RELATED READ: Metaphor vs. Personification

Storm Symbolism: 9 Meanings

Chaos isn’t the only thing a storm can represent in literature. In fact, there are several different meanings that may be conveyed through storm symbolism:

1. Emotional turmoil (the intensity of a character’s feelings may grow as the storm gains power)

2. Passion (the strength of a storm could represent romantic passion or passion that gives way to anger)

3. Uncertainty (storms are of an uncertain nature because it’s difficult to guess how powerful they will become and how long they will last)

4. Conflict (a storm could represent a conflict between nature and civilization, for instance)

5. Negativity (a storm can reveal that the story is about to take a turn for the worse)

6. Change (sometimes, storms gather quickly and suddenly, only to leave in the next instant – this could be used as a metaphor for a character’s state of mind or as the backdrop of a plot twist)

7. Power struggle (a storm makes for an incredible background to epic battles or important conversations where the dynamic between the characters shifts)

8. Self-discovery and transformation (a storm can also be seen in a positive light – for example, rain allows vegetation to grow – which means it can represent the chaotic journey of self-discovery and an eventual transformation for the better)

9. Chaos and darkness (it is often during a storm that battles take place, characters get wounded or are lost, and the status quo is destroyed by an unexpected event)

RELATED READ: Logical Fallacies: Definition and Examples

Examples of Storm Symbolism in Literature

Of course, the reason most readers are so familiar with storm symbolism is that we have read countless stories where storms are used as a literary device.

Take Wuthering Heights by Emily Bronte, for instance.

This classic work of fiction is a brilliant example of the Romantic Movement in literature (the main focus is on the characters’ emotional states and subjective experiences), and it is precisely storm symbolism that sets the atmosphere for the story and helps us understand its characters better.

Another well-known book where storm symbolism is effectively used is Lord of the Flies by William Golding. There, a storm symbolizes that the boys on the island have lost their innocence.

Symbols that are associated with storms can also represent major ideas, such as the lightning scar on Harry Potter’s forehead (representing a trauma from the past) or the electrical power Marre Barrow, the protagonist of the Red Queen series, possesses (possibly representing her courage, determination, and strength of character).

Storms run free in poetry, too – just take a look at the following quote by Nikita Gill:

“You fell in love with a storm. Did you really think you would get out unscathed?”

How to Effectively Use Storm Symbolism in Your Work

Storm symbolism sounds easy enough, but here’s the catch – when incorporating storms in your stories, it’s difficult to avoid cliché.

Imagine the protagonist and the villain have just begun their final battle. As they’re withdrawing their swords, a storm gathers on the horizon, and before they know it, it’s raining and the lightning is flashing all around them, painting their faces blue and silver.

While this paints a rich image, it’s also akin to a couple kissing in the rain. We have seen and read it too many times, and so we remain unfazed.

Therefore, try to use storm symbolism in subtle or unique ways that aren’t too on the nose.

For example, you can allude to it through character development, create it as a backdrop to a specific plot point, or use it to increase dramatic effect in situations where it’s not too obvious.

Conclusion

Storm symbolism can be a very powerful way to enhance the tone and atmosphere of your story, and what’s more, it can be used in multiple different ways, which allows for subtlety and nuance.

So, are you ready to unleash the storm?

Three, two, one…

Get writing!

The post Beyond the Thunder: A Guide to Storm Symbolism in Literature appeared first on Firstediting.com.