Interactive Guide to Emotions | Write Fictional Character Emotions Better with this Helpful Resource
Recently uncovered this fun interactive tool for understanding emotions and emotional reactions.
Having this type of emotional awareness can help you tremendously with writing characters and character development. Using your character’s emotions and understanding how to put them into words can help lead to relationship awareness and how the emotions of your characters affect their relationships with other characters. This can, in turn, help to move the plot forward because of their reactions and non-reactions to their emotions.
You might want to favorite this post so you can find this resource again later easily.
I found this guide to be fun and helpful at face value. It’s also a good free resource for our audience so I thought it might help to put it up. Thanks to Paul Ekman for putting this resource together to help people.
Disclaimer: (I didn’t do any deep digging into any religious or meditation practice teachings of the creators of this resource. Howtodothewritething.com and its owners don’t endorse any type of religious teaching from this site, we just thought the simple resource on understanding emotions and using that knowledge to write more in-depth characters was cool.)
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Mythical Creatures | 7 Tips on How to Write Mythical Creatures
Mythical creatures are fantastic and fascinating. It is almost always enjoyable to read about mythical creatures or to see mythical creatures like the ones in Harry Potter and Lord of the Rings.
Some mythical creatures roam the forests and the foggy mountains unseen by the majority of mankind while others only exist as greek mythical creatures or fairy tales.
So instead of just showing a mythical creatures list, let’s talk about how to write mythical creatures of our own.
Let’s try to make up a new universe of mythical creatures or our own stories.
Writing mythical creatures from greek and egyptian tales, harry potter, and fantastic beasts is fine, but there is something extremely enjoyable about coming up with brand new mythical creatures that no one has heard of or come up with yet.
Mythical creatures can come in varying shapes, sizes, and power.
They can live anywhere. Your mythical creature could naturally be in the sea, sky, forest, desert, mountain, sewers, wherever.
They also could be good or sinister in nature.
A mythical creature could be beautiful and kind and bringing good things, or they could be grotesque and terrifying and be the stuff of nightmares.
So how does one write a mythical creature and determine what it’s nature will be?
What is our mythical creature’s purpose?
This is key when first coming up with a mythical creature list for your story or just one mythical creature to add to your plot.
Does your character get help from these mythical creatures or does the mythical creature present a challenge to your characters?
When you know what it is there for then you can simply make a it a good mythical creatures or a horrible one.
Some mythical creatures are there for decoration. They don’t have much of a purpose other than to be seen and awed by.
These types of mythical creatures might be more majestic and beautiful in nature or so large and powerful that they merely exist and don’t notice mankind as more than a human notices an ant or germ.
So once you have your purpose for the mythical creatures or creatures in question then you can start to use it for your purposes.
What if my mythical creature is evil?
IF your mythical creature has the purpose of challenging your main characters then it needs to be either hideous and dangerous or it must be colossal enough to really pose an imminent threat.
You can decide what type of danger your characters are suddenly in.
Is it like they just landed in a pit of poisonous vipers? Or did they accidently cross paths with a lion?
Think of your mythical creatures like animals.
Is your mythical creature the main antagonist?
Another option is to have your mythical creature as the main antagonist. This would make it either intelligent like humans or so sinister in its purpose that it creates suspense in its existence.
Some mythical creatures are just challenges or hurdles along the way, but some make it into stories as the creatures that are hunting or stalking our characters day and night.
If your mythical creature is your main antagonist, be sure that it is able to convince your reader that the main characters are in serious danger and that they could die or lose at any moment.
This helps keep the suspense in the story and your reader interested on if the characters will survive.
This is to compare mythical creatures in harry potter where the main antagonist was another wizard to the first maze runner where one of the first main antagonists were the creatures in the maze.
7 Tips on How to Write Mythical Creatures
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What if my mythical creatures are to help the heroines/ heroes in their journey?
Mythical creatures that are helpful usually have important abilities that are just good for one part of the story or return multiple times.
Mythical creature sidekicks.
Some mythical creatures are sidekicks and are in the heroine’s journey for the long run.
Think fantastic beasts. In Newts adventures all kinds of mythical magical creatures aid him and most of them are a pivotal part of his character thus playing a role in his character development and how we see him as an entire person.
If one day we saw him and he had no mythical creature up his sleeve we would feel bad for him as if he had lost a part of himself.
Another great example of mythical creature sidekicks is pegasus and Hercules.
Especially in Disney’s adaptation of Hercules Pegasus a mythical creature is his buddy for life. And pegasus is given a personality and personified.
Disney also did this in the cartoon Mulan with Mushu.
Mythical creature one offs.
Mythical creatures one offs are there for a moment and usually pivotal moments but then we don’t see them very much. They may come and go a little between series, but they aren’t playing a major character type like a sidekick.
For example, the mythical creature phoenix that lived in Dumbledore’s office and aided him in his escape from being arrested by the minister of magic.
Also to be noticed 100% is Buckbeak as a mythical creature from harry potter that was mostly a one off creature.
Buckbeak shows up for several scenes, some are for fun but some are a little more pivotal for the movement of the story.
Buckbeat gives Harry a magical fun ride for us, but later on the gang must save Buckbeak from execution because of draco.
This leads our characters to certain places and times they must be in in order for the story to maintain suspense and interest.
Buckbeak even though a one off becomes an important suspenseful and challenging moment for our protagonist.
Another mention is Percy Jackson. There are many mythical creatures in these stories as they liberally use Greek mythology, but here we will mention the seahorse that they ride to the yacht of their antagonist.
Posiedon sends the horse, but without it Percy and his friends may not have reached their destination in time.
This is a very typical one off mythical creatures as it is literally there for only one purpose: transportation and then it is gone.
Mythical creature plot points.
Dobby. Dobby is one of my personal favorite mythical creatures from the Harry Potter universe.
As a mythical creature he shows up many times in multiple books. He is used by the author to move the plot along. He’s not just a “one off” mythical creature.
At one moment he is trying to save Harry Potter by not allowing him to get back to Hogwarts and at another moment he is saving Harry and his friends from being trapped in a dungeon.
He is an important character that helps the protagonist and moves the plot along in a fun and interesting way.
Conclusion
With these 7 tips, you should be able to write some very important and interesting mythical creatures for your stories.
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How to Make Your Reader Care About Your Characters
We write our characters.
We think about them at lunch.
We dream about them.
As writers in a weird way we are emotionally connected to the characters we create.
And thus we want our reader to connect with them and interact with them just as we do and have a fondness towards them.
One of the best ways to make your reader not care about them is to wane on and on about specific details about what they look like and what they act like.
We should avoid this.
It’s our job as writers to understand our characters deeply and reveal who they are through actions, inactions, and dialogue.
So how do we make our reader give two hoots about our awesome characters?
Give them something to lose
At any given moment in the story our character needs to be facing some type of conflict whether big or small.
We need to give our reader a reason to follow along as we reveal to them our beloved character.
Give them small things to lose
Some practical ideas of small things they could lose would be:
– An argument with another character
– They left their homework at home
– Forgot to do homework
– The bully steals their homework
– They have a huge zit they can’t hide
– They get to talk to a crush for the first time but forgot to brush their teeth that morning
– They are apprentice to a blacksmith and chipped the knife they were working on
– A thief steals their coin on the way to the market
– They live on a moon colony and they dropped their groceries outside the grocery store
You can see how the setting can be worked around or even used, but these problems they face are mostly small.
They have something to lose but it’s not life and death.
Use little problems like these to lead your character and reader to the big problems and the overarching biggest climatic problem.
As you take your character through little problems your reader will start to feel invested in who your character truly is at heart.
They will start to be concerned for them.
Keep in mind there is a caveat here.
In order for them to care about these characters, the character has to have some redeeming qualities.
They do not have to be perfect. I advise against that. Do not try to make them flawless.
Give them flaws and redeeming qualities.
Give them a strategic main character to follow
In order for them to care about our characters they have to get to know them.
A few ways to let our readers know our characters:
– From the view of the narrator (you can tell them the thoughts and feelings of whoever you want)
– From the view of the main character only (they only ever know what the main character is thinking and feeling)
– From the view of the main party (they get to see inside a band of characters)
So this can really be done anyway you prefer but if we are going to get them to like them and care about them losing stuff then we have to help our reader get to know them through a certain lens.
We can follow one character that interacts with all other characters.
We can follow a group of main players that we know the inner thoughts of and any one of them at any time could have individual moments with side characters.
This doesn’t mean our side characters can’t be interesting or noteworthy.
When Happy Days was in its prime, the directors and producers would specifically introduce new side characters to audiences to see how they would react.
If the reception was good, they would create a new TV show around those firstly side characters.
So you can take a side character and make them stand out as much as you want for as long as you want.
But whoever you decide to have the story play through, make sure your reader can follow a cohesive story line or it might get confusing.
Make your reader aware of your character’s emotional distress
Whether we want to admit it or not we are emotional creatures.
And with that we enjoy watching characters go through emotional rollercoasters just like we do from day to day stress.
How to Make Your Reader Care About Your Characters
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Almost everyone has a past. And most pasts come with regrets.
What are your character’s regrets?
– Worries/ Fears
What is your character worried about?
What does your character’s worries have to do with the main plot line?
– Character Flaws
Like we said earlier, do not make your character perfect.
Give them realistic character flaws that your reader can relate to.
By giving our characters these traits we can seamlessly invite our reader into our characters.
Ideas for character flaws:
– Selfish
– Self-loathing
– Arrogant
– Steals
– Harbors resentment
– Greedy
– Lazy
– Know-it-all
– Show-off
– Etc
Flaws are a good way to lead the reader into the characters emotional distress as their flaws create conflict with other important characters and strangers.
These flaws can lead to hurt and broken relationships and leave room for redemption and second chances.
Turn up the heat
We aren’t talking about romance.
We are talking about taking your characters from the frying pan and into the fire.
You can take your character through many small problems to get your reader to care for them but we also need to put them through even bigger difficult situations.
Ways to make your character’s problems seem big to your reader by creating tension:
– Create a time sensitive event
Nothing creates more tension than setting a timing and telling someone. You have this much time to do this OR ELSE.
In fact a popular TV show was made around this entire premise. Remember 24?
We were just watching Nonstop the other night with Liam Neeson and the entire movie the villains have him wrapped up in time tension.
“Every 20 minutes someone on this plane will die if you don’t give us 150 million dollars.”
It’s worked a million times before and it’ll work again.
Don’t reinvent the wheel. Use timed tension.
– Use the character’s career or reputation
Nobody wants to lose the respect they’ve earned over years and years of hard work.
Nobody wants to lose the company they’ve built.
We don’t want to lose a high paying career.
These are examples of high stake things that we can use to make our reader worry for our characters. Especially if they are being blackmailed or wrongly accused.
– Hunger Games: survival tension
I just said Hunger Games because it is the epitome of survival tension.
There are many stories that use this form of tension as well.
Put your character into a situation where they have to survive dangerous encounters with people, nature or other beings and you’ll create the nail biting tension you need to make your reader care about your character.
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How to Make Your Reader Care About Your Characters
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How to Make Your Reader Care About Your Characters
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I’ll be the first one to say that I don’t love writing dialogue.
The actual task of recording down their conversation is quite un-riveting for me personally.
That being said, analyzing dialogue and the actual process of creating it, thinking through it, and revealing character using dialogue is quite fun.
It shows your reader:
– What’s going on in characters heads
– What their normal life is like
– Into scenes that they might otherwise not be able to see
– The story
– What makes characters different
– What makes them similar
– It can persuade your reader to believe something about a character that may end up being a great twist later
– Suspense
– Drama
– Conflict
– It also makes pages easier to read through
Think about people talking normally.
When you’re out the next time to the movies or mall or restaurant, out to the groceries or whatever.
Be purposeful to hear the way people talk to you and others.
Even think about the way you speak to others and your mannerism.
You can log this information away as normal speech patterns.
The more people and cultures you interact with the more dialects and different speech patterns you find.
But a great way to figure out how to give your characters the right words and thoughts is to listen to people in your real life.
Talk your dialogue out loud.
Another great dialogue practice is to have your character’s conversations out loud with yourself and maybe your editor or friend. Whoever you have that’s willing.
When you hear it out loud it gives it an entirely new feel and it’ll be easier to tell if it sounds weird, odd, or abnormal.
Draft it out.
One of the best pieces of advice I’ve ever heard when it finally comes to sitting down and typing it out on the keys is to write it out without making many punctuations at first.
Just let the words flow fast and naturally so that you can feel what it’s going to look like and sound like right away without stopping much to be distracted by punctuation
Don’t be overly concerned with he said, she said just yet except to just keep it organized.
This will really free you up to create the dialogue and have it come out right rather than being bogged down in the first draft by all the writing technical work.
5 Tips on Naturally Writing Effective Dialogue
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Add the punctuation after you feel the dialogue is right.
Take your time in the editing process of your dialogue to make sure it sounds natural and each character has their own voice just like a real human.
When their talking and interaction seems right for them add the punctuation.
This helps compartmentalize the creative process from the technical process.
Common dialogue pitfalls to watch out for.
– Don’t overuse names.
Overusing someone’s name in real life is weird and it’s weird in writing too. Unless your character is a creepy salesperson.
– Try not to create a repetitive chain of information.
If you need two characters to talk about information that you already introduced once just make it that the second character found out from another source.
“Did you hear about so and so?”
“Yeah I did. Jackie just told me. Crazy right?”
– People in real life day umm a lot and make filler noise. Characters do not mostly.
Take this thought liberally as every once in a while it helps make a certain character to give them a weird noise that they make while they are thinking, but for the most part, cut it out.
– Get on get out.
Make each line have a purpose.
Most characters shouldn’t talk too much. And other characters shouldn’t talk too little but our dialogue needs to have a point and move the characters forward in the plot.
If they decide to head for Starbucks to gab about ‘whatever’ in reality one of the characters is about to bump into someone important.
Otherwise they need to be meeting up at Starbucks to discuss things that are important to the plot and revelation of character.
– Help the reader see who’s talking without being annoyingly redundant.
He said.
She said.
He asked.
She said.
We don’t have to add ‘they said’ at the end or beginning of every quotation.
The goal is to just make sure that we are clearly letting the reader know who is talking and then write the dialogue in such a way that they can skim through and it’s very clear who is saying what even if we stop writing he said/she said/ she asked, etc.
Make your main goal to just tell the story and make it simple. Don’t be tempted to over display what they are feeling with adverbs while they speak.
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We hope you enjoyed: 5 Tips on Naturally Writing Effective Dialogue
1 Bad Writing Tip You Can Cut Out Right Now That’ll Make Your Writing 10X Better
There is one thing that many authors do.
It could be by accident. It could be on purpose.
But if you cut out just this one thing, your writing will be better to read instantly.
What is that one thing?
Passive voice.
Now this doesn’t mean we can Never use passive voice as authors.
It just sounds better and it’s less wordy if we don’t. And less wordy is almost always better.
What is passive voice?
Passive voice makes the object look dominant to the subject.
For example, passive voice would say,
– The book was thrown by the student.
– The guitar was played by the musician.
– The door was opened by the driver.
Instead as writers we mostly want to use active voice.
What is active voice?
1 Bad Writing Tip You Can Cut Out Right Now That’ll Make Your Writing 10X Better
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1 Bad Writing Tip You Can Cut Out Right Now That’ll Make Your Writing 10X Better
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1 Bad Writing Tip You Can Cut Out Right Now That’ll Make Your Writing 10X Better
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1 Bad Writing Tip You Can Cut Out Right Now That’ll Make Your Writing 10X Better
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4 Tips How to Write Cliffhangers, Hooking in Your Reader For More
The cliffhanger is not a new technique.
In fact, writers have literally made movies around the idea of dangling our beloved character off the side of a cliff to get us at the edge of our seats, biting our nails, ignoring everything else in the universe to see “what happens next?!”
Thankfully even though this technique has been waaaaayyy overused. It still works.
We can definitely add this one to the proverbial toolbox.
Keep it simple
We don’t always have to dangle our character over a cliff in order to make this technique work.
In reality, this won’t work if we do it too much. Our reader will see through our antics and get bored.
If our main character almost dies at the end of every chapter hanging over a cliff, you can bet the reader will be saying “fool me twice, shame on me” by chapter three.
Instead find creative ways to make little cliffhangers during chapters and at the end of chapters.
Them almost dying at the end of every chapter makes for boring and not suspensful, but if they were about to lose a relationship, or be caught doing something they shouldn’t and the reader has to go to the next chapter to find out what happens next, then you’re winning.
Examples:
– Characters are in a fight and might break up
– Something is about to hurt character like a dangerous animal
– One character just went missing
– A character just witnessed another doing something suspicious and unexplainable
Basically we want to create a smaller conflict that needs to be resolved in our reader’s mind that will gnaw at their curiosity until they get the answer.
If we create a question for our reader to look forward to the answer, we better darn well answer it.
And a great skill to practice is the creative ability to create questions when we give answers.
Use dialogue to help the reader see the answer and the next question.
Dan Brown does an amazing job with this in the DaVinci Code.
He uses Langdon in this way.
Langdon will answer one of the mysterious questions, one of the riddles, but then he’ll say something to the effect of, “but if that’s true then what about this?“
And then Langdon will say, “we need to go to the Sistine Chapel,” and before we know it Langdon is being shot at on the way to the Sistine Chapel and we’re hooked to find out if he’ll make it.
This is genius for answering a question we made and leading the reader right into the next one without drawing it out to much and leaving the reader bored as they wait for the next riddle to solve.
4 Tips How to Write Cliffhangers, Hooking in Your Reader For More
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4 Tips How to Write Cliffhangers, Hooking in Your Reader For More
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Your character can simply say, “this answers this question, but now we have this question to deal with.”
Now when your character needs to go to the next place we are happily following along.
It would be a bad idea to have no reason for your character to go to the next place and we just somehow end up there and stumble upon the next clue.
This technique can be toyed with, but I think you get the idea.
Create questions while answering questions, but BE SURE to answer all your questions eventually. Don’t leave your reader feeling cheated of the time they invested in reading your story.
Make them feel like they can predict what’s going to happen next, only to fool them.
Lead your reader into the most obvious choice or answer to the riddle.
And just when they think they’ve figured it out, put a twistaroo on it. (twistaroo is not a real word 🙂 )
This is called a good twist.
One of my all time top 10 fave twist moments was in the Sixth Sense. “I see dead people.”
I recommend watching it if you haven’t and as long as you aren’t easily spooked.
Spoiler alert:
The twist in the end was so shocking to me, I never saw it coming that Bruce Willis was dead the entire time.
It was like a left hook sucker punch for me and I, to this day cannot think of a better twist or reveal. Now that I think about it, it’s easily in my top 5 twisty movies.
So just like that, lead your reader into thinking that they know where you’re headed just to cut them off at the pass.
Surprise them wherever you can and they’ll love you for it.
Give them something to look forward to at the start
Don’t waste any time setting your reader up for cliffhangers.
Get started right away in chapter letting them know they are in for a fun ride.
Our main job as writers is to entertain.
Start off with a bang:
– “That’s the moment he knew he’d never see her again.”
– “As he looked at the clock sweat began to fall off his nose. He was taking to long.”
– “Bubbles were still surfacing as I dove into the river after the sinking suburban.”
Create mystery, intrigue, and suspense right away.
Don’t waste time explaining the plot, characters, or other detailed ideas. Allow the plot to unfold without them thinking, “oh so the plot is going to be about this.”
Allow your reader to discover clever ideas as you get them to turn the next page with cliffhangers.
Don’t let the reader in. Don’t show all your cards too quickly.
Be strategic.
Set up a powerplay by creating a moment of intense intrigue and use it to carry your reader to the next plot point without them knowing how they got there.
Entertain them as you reveal that your character’s mother is the true villain and everything they were raised to think was a lie.
It’s absolutely okay and maybe a good idea to make your reader confused and in the dark as long as you are going to show them the light and solve their confusion by the end of the story.
Never leave your reader feeling, “Why did I just read that? What was the point of all that?”
Give them something to continually look forward to or else they will look forward to it elsewhere.
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4 Literary Techniques to Make Your Fiction More Digestible
Writing fiction is fun.
C.S. Lewis hits the nail on the head when he says,
“You can make anything by writing.” – C. S. Lewis
It is so true. Anything your imagination can dream up, you can write, and if you can write it, then it can come true in your reader’s mind. Even if just for a moment.
Walt Disney said “It’s kind of fun to do the impossible.“
That’s the wonderful side for the writer is we get to have fun creating the impossible.
But there’s a down side too.
Creating the impossible takes a ton of work, discipline, stress (at times), and know-how.
And our work isn’t necessarily an art form as much as it is a work of building entertainment.
Fiction is supposed to be entertaining; otherwise, readers wouldn’t read fiction.
So how do we help our readers gobble up every page?
There are certain literary techniques that have been used in storytelling for a long time that are powerful and should continue to be used in the stories we create today.
There are many literary techniques to make your fiction more digestible, but these four have been used uniquely throughout literary history and have become pillars.
Parallelism
What is parallelism?
It is the state of something corresponding or being parallel to something else.
Example,
“He came. He saw. He conquered.“
Story details can parallel too.
In the Star Wars Saga, Finn, Poe, and Rey parallel Luke, Leia, and Han Solo.
So you too can add parallelism to your story by adding characters that parallel each other.
Events can parallel.
You can have a story within the story that parallels what will happen to the main characters.
In Stranger Things, we see the boys playing Dungeons and Dragons. The game adventure they are playing with the “Demogorgon” parallels what will happen with them in real life very soon.
How is Parallelism used?
Parallelism is a way of leaving dynamic clues or breadcrumbs for your reader to follow. It makes the material more magical and creates powerful “re-readability” with your story.
Meaning, if they pick up your story a second time they may notice the parallelism in a way they didn’t before. This instantly makes your story more interesting to pick up again than stories without this technique.
I personally love “re-watchability” and “re-readability” in the stories I get into. It makes the difference between whether a story is good or amazing for me.
Foreshadowing
Foreshadowing and parallelism are very similar.
What is foreshadowing?
It’s a warning or indication of a future event.
In Stranger Things, the “Demogorgon” is also a foreshadowing of what’s to come.
A common “foreshadowing saying” that has been used a billion and one times in storytelling is the famous line,
“Be careful what you wish for…“
This usually happens after the character has lost her temper and said something like,
“I hate my life. I wish I was never born!“
Then some mentor or well meaning older character says “be careful what you wish for.“
And then the next day nobody remembers them as if they were never born and the main character learns a life lesson through the events that follow.
We see this happen to Macaulay Culkin in the Home Alone movies.
Foreshadowing is a powerful way to build a relationship with your reader.
By giving them foreshadowing once you will have shown them that you are clever and thoughtful about your writing and the foresight of where your story leads.
They will be looking forward to this same cleverness in all your stories henceforth.
Thus giving you “re-readability.” 😎
Repeating Important Details
The repetition of details whether it is about objects, people, or events will get your reader’s mind pumping.
It will alert them that something very important is happening in the repeated details and they will try to figure it out before you flat out tell them.
They might also be the sort of reader that just loves a good build up to a reveal.
So repetition is appealing to most readers.
The main character could be trying to remember something about a certain day so you can take the reader into your character’s imagination as they try to remember certain details about the past.
Or you can bring up an object several times. Something as simple as a keychain will do.
But is there more than meets the eye about this keychain?
In Men In Black, we see the cat Orion many times before it is revealed to be wearing the thing that everyone is looking for.
We see the most important piece of the puzzle time and time again before we could ever guess just how important the cat is. And even more important the little keychain looking world dangling from its collar.
4 Literary Techniques to Make Your Fiction More Digestible
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4 Literary Techniques to Make Your Fiction More Digestible
Symbolism
Symbolism is a great writing skill to learn how to use well.
What is Symbolism?
Symbolism is when you have an object, person, animal or thing that represents something else.
To many Americans the bald eagle represents America and freedom.
That’s symbolism.
The epitome of symbolism can be found in the book Animal Farm.
A story about personified animals on a farm where a group of sinister animals manipulate and convince the rest of the animals to work for them instead of being free to work for themselves.
The story represents the early years of the Soviet Union and how socialistic minds took over and took away the freedoms of the common people.
Symbolism is a wonderful literary tool to take from real life and create a story that is easier to digest than a documentary or history book.
For example, allowing animals on a farm to represent the Soviet Union allowed many readers to learn how the Socialist Soviets took the freedoms from their people.
It made the historical event more digestible for a wider audience.
One flaw with symbolism is that it almost always has to be explained outside of the story, it’s difficult to reveal in the story without the writer leaving notes behind that otherwise explain the symbolism. Symbolism almost always has to be explained.
The upside to this is people being able to have open conversations with each other about hard topics that might not otherwise be open to discussion.
Symbolism is definitely a great teaching tool and a way for a writer to share their views about real-world times, events, economics, societies, laws, religion, politics, etc.
Topics that are otherwise harder to talk about openly.
Another creative outlet for symbolism is the writer is able to write about things that happened in their own life without writing an autobiography or saying “hey, this happened to me.”
For example, Stephen King explains some symbolism for IT.
He explained that the story came from the troll under the bridge and the bridge represented the passing from childhood and adulthood.
He also explains that Derry, Maine represents his childhood home Bangor, Maine.
He ultimately decided that the bridge would be the city of Derry and that something terrifying lived under the city, IT.
When you think of the story in light of the terrifying nature of the journey of childhood passing into adulthood and all the problems that could follow, this makes sense as to why he had the story so woven between the two major themes of their child lives and there adult lives and the 27 year gap he chose to put in between.
We can use symbolism to write about parts of our own lives or stories that inspire us or that we find intriguing, or and especially hard events in our lives.
Most of us in our lifetimes will, unfortunately, go through hard times and traumatic events no matter what background we come from, and writing about those events is a way to share whats going on inside us with other people.
Use these 4 literary techniques to help your readers digest your stories and enjoy them and come back for more.
Hope this helps!
Happy writing!
4 Literary Techniques to Make Your Fiction More Digestible
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We hope you enjoyed: 6 Thoughts on Writing Schools in Fiction!
Some of us loved it. Some of us hated it, and some people just liked a few things about school.
But nonetheless whether we hate it or love it it has been a part of most readers’ lives.
Writing schools in fiction doesn’t have to be a difficult daunting task. It can be fun and full of creativity. Thankfully many writers before us have created schools in fiction and so we have a lot of wisdom to glean from.
Creating a fictional school is a great way to resonate with audiences and bring many story elements that are nostalgic to a broad amount of readers.
We don’t have to go far to find inspiration for writing a school in fiction because the majority of humans on the planet attend some type of school in their lifetime.
These are some of the best places to draw inspiration from for writing schools in fiction. Draw from your own experiences and memories. Do you remember the teachers that you couldn’t stand?
Do you remember the ones that bored you do death?
Do you remember who you sat next to in math or science?
These are the places to take inspiration from and turn it into a story of your own.
Teachers
Everyone has teachers they’ve loved or hated.
There are so many vibrant teacher personalities that can add unique Dynamics to any story.
You can have:
– the crazy teacher
– Fun teacher
– Strict teacher
– Mean teacher
Teachers can be supportive characters and challengers.
A really fun dynamic is having the teacher be the ultimate villain hiding in plain sight.
Teachers are a huge resource to a writer making a fictional school.
Peers
Again there’s an endless world of possibilities in peers.
Every personality you can think of under the sun you can add and take away.
There could be many relationships or only a few.
There could be a few peers that play pivotal roles. Or maybe just one repeating character peer.
The location of the school
The location of the school is a big deal.
Is it near the main character’s house?
Is it far away?
Do they walk there?
Or do they have to take Transportation?
Is it other worldly?
6 Thoughts on Writing Schools in Fiction
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Depending on where the school is, it means a lot for how the reader will preconceive the details of the school and what it looks on the outside and the inside.
The number of students
The number of students affects:
– Sports
– Classroom size
– Competitions
– Band
– Music
– Arts
– Number of classes
– Number of teachers
The number of students affects many details and should be considered.
Curriculum
Is this a regular school?
Is it a school for the dead?
Is it a magical school?
School for animals?
School for adventurers?
What is the school’s main purpose?
Some extra random thoughts to consider for writing your fictional school:
Are there competing schools?
How are the students arranged in the classroom?
When it comes to making a fictional school there are lots and lots of details to sort out.
The more questions you can answer before writing chapter one the better and it’s best to write these answers down somewhere so that you have a reference to look back on.
Otherwise it’s tough to remember how you first felt about the school and what you dreamed it would be.
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The #1 Way to Make Your Scenes NOT BORING While Revealing the Story to Your Reader
Master writers and editors know what it takes to make scenes not boring while revealing the story.
Let’s talk about what makes a scene boring.
There is one major thing you don’t want to do to your readers when writing a scene and revealing the story.
Don’t make it work for them to read it.
Period.
If you make it a ton of work for them to get through chapter one scene one, they are going to put down the book and probably never want to pick it up again.
Here is how you make it a ton of work for your reader to make it through your scene.
Chapter 1: I tell them about the world, the shops in the world, the streets in the world, the mountains, the trees, what the birds look like, the cool and exotic plants. I tell them about the characters and every tiny detail about them. I tell them about her hair and her eyelashes. What she thinks about the flowers…
Do you get where we are going with this?
We are being a bit exaggerated here, but let’s be honest, it happens. And stuff like that used to work, but not today.
To make a scene “too much work didn’t read” (TMWDR) aka (TLDR) we give them a million descriptive details to read through without once moving the story along!
And our reader is left feeling like, “let’s get the ball rolling people!”
We can give them the details about the beautiful world in our imagination, but give it in small doses and allow them to use some imagination.
Move the story forward
We can give them some descriptions and we should, but great authors know that in order to be allowed to explain what a character looks like we have to earn the right to talk about them and why they are important.
The way that we earn the right to tell the reader anything while revealing the story, is when they are thinking this one secret thought.
We have to put this one thought in their minds and keep it there, the moment we’ve lost this thought that we’ve put in their heads, they’ll put down the book.
That secret thought is the same one all great writers use across all mediums, whether it’s story, freelance, copywriting, blogging, or marketing.
The secret thought is: “If I just read a little bit further, I’ll find out what I want to know.”
When we are so into reading anything, a story, an article, a blog, we have this same thought too. It’s really more of a feeling. But we read on intently looking for the answer to our questions.
Questions like, “What will happen next?” “What is going to happen to this character now?” are what we want our readers to think as writers in any medium.
The way we plant the secret question in their head using story
The way we create the secret question is simple.
Keeping it in their minds is the hard part about writing a story and writing one that readers can’t put down until they’ve read every last page.
The way is simple but executing takes time, practice, and insight.
How do we create the secret question in their head?
We create a problem that must be resolved.
The way we make scenes not boring
The way to make scenes not boring is to move the story along. (I know we said this above but go with me here as we explain further.)
We need to give the reader something to be curious about and look forward to.
Along the way we slowly but surely reveal characters and scenery and explain little bits and pieces of the world and bring them into our world and share it with them.
But to make a scene not boring and to move the story along we must create curiosity about what happens next!
How to get your reader thinking what happens next?
It is the coveted moment. The reader can’t stop reading page after page, chapter after chapter all because they keep thinking, “what happens next?”
But how do we get them thinking this through every chapter?
I already told them about the hero and the bad guy and he wants to destroy the world, what else keeps them curious?!
The #1 Way to Make Your Scenes Not Boring While Revealing the Story
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The #1 Way to Make Your Scenes Not Boring While Revealing the Story
The journey.
Moving the story along is the journey it takes to get from the introduction of our characters to the main problem that faces them to seeing it out to the end and all the misadventures in between.
But how do we make the journey interesting?
Let’s ask a more detailed question.
The one we’ve been asking all along.
How do I make each scene interesting?
Give each scene a purpose.
If every single scene we bring the writer into doesn’t have a purpose in moving the story forward then why on Earth are we telling them about the scene?!
So when you plot your outline be thinking of each scene and the “why” behind it’s necessary existence, because if your reader reads one or two scenes that seem to be not purposeful, that is, there is no “pay off” for them taking the time to read it they will likely put down the book.
Yes, in our scenes we may want to show a certain detail about character development or reveal a hidden artifact, but the easiest way to get the reader through it and on to the next page is to create mini difficulties for the characters.
Our main problem may be that the antagonist(s) wants to blow up the world but while our hero is on the way to stop the no good antagonist(s) they need to run into many challenging obstacles on the way.
Think of your story as more of an obstacle course
To get to the finish line our protagonist needs to run through the maze, climb the slippery slime wall, survive the dread log tumble, jump through the fiery hoop, and before they can even see the finish line they have to carry the weighted sack of fortitude up mount killmyback.
That’s a story.
And each obstacle is a scene. We see the obstacles and how the character handles them and each obstacle reveals more and more to us their true character. (“Show, don’t tell.”)
That’s how we move the story along, keep the reader interested, and reveal the true nature of our characters as we go 🙂
If we told the reader all about how each obstacle was made, how long it took, and about the nuts and bolts of it, that might be a little interesting (if you are trying to write a documentary about the story) but not if they haven’t seen it in action and seen how the course wrecks a character and is extremely interesting to watch.
Give each scene a purpose while you are revealing the story.
Make an obstacle around that purpose.
And your reader will be thinking that coveted question, “What’s going to happen next?!”
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The #1 Way to Make Your Scenes Not Boring While Revealing the Story
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One of the great things about writing a protagonist that your readers can root for is writing an equally sinister antagonist.
The hero and the villain play off each other.
You can’t have one without the other and your reader has no one to root for if there is no one to fear and root against.
Thus we must create villains that really make the stakes high.
Write your sinister antagonist as more clever and more dangerous than your protagonist and then you will have a good concoction for an epic battle of good and evil.
Then let’s talk about making our antagonist sinister so that we make the plot more interesting.
Make the antagonist sinister by allowing them to reach their goals
What does the villain want?
Power?
Money?
Fame?
Give it to them or make them start out with it.
In ready player one, the main antagonist has an entire company working towards his goal to control the Oasis and thus the world whereas our hero is just one boy.
What are your villain’s morals?
The more your villain lacks morals the more sinister they appear.
Portray this over time and even confuse and make your reader question their intent a couple of times before revealing that they ultimately care for no one but themselves.
As they get closer and closer to their real goal make them act out more and more to show their true brutal sinister rationale.
How does your antagonist feel about their own morality
I think this can go either way. Some villains know they are in the wrong and relish in it.
This makes for a truly sinister villain because at some point you realize there is no hope in reasoning with such an individual.
But on the other hand some authors like to have a misguided character that truly believes they are the hero and are doing what’s best for everyone. (Thanos VS Dr. Robotic)
How to Write a Sinister Antagonist
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