|The Seven Fundamentals for Writing Fiction Stories|
Tuesday, April 26th, 2016
There are many ways to think about the great writing of great fictional stories. Both readers and writers can benefit by learning seven elements and appreciating the interaction of these elements in an individual story. For the reader, appreciation of authorial skills can be more easily enjoyed and admired, and for writers, learning to determine their strengths and weakness in the creation of the different elements can be valuable to balance story for an effective presentation.
Prose relates to diction, syntax, and voice. Lyric prose with intense poetic elements can be used to pleasing effects for a reader both as a secondary and prime element. Most readers prefer a distinct, often authoritative voice for narrator and characters.
Characterization is a key element for a literary story and is often most effective by in scene action predominating over discursive narrative telling. It’s importance in story development in the great stories is unique and individual and requires talent and practice. Dialogue, narrative, internalization, flashback, diction, memory, voice are opportunities for character development in effective ways different, and at times superior, to characterization in film or in drama. Almost without exception, great stories
Plot is all that happens in a story. For great stories plot is almost always structured with a beginning, middle, and end; frequently is character-based; depends for momentum on reversals and recognition, mystery and suspense; is primarily linear, and is interwoven with emotional, character, and story arcs. Great plots provide conflicts early, both in story and among characters.
Narration is storytelling. Characters act out in fiction stories, narrators tell story, and authors create story with imagination and uniqueness. Point-of-view choice is tailored to the needs of story. Each point of view has advantages and disadvantages and must conform to reasonable story-related credibility and reliability reliability, and adjust to requirements of suspension of disbelief. Authorial control of the narration through the narrator must be consistent in style, transparent (no authorial intrusion), carefully chosen for story understanding and purpose,, and meticulously crafted.
Setting orients the reader to time, place, and physical and psychic distance from story action, environment, and obstacles to plot progression. Most stories provide settings through subtle integration in other elements avoiding extensive description. Yet, some stories rely on the poetry of beautiful settings.
Imagery relies on imaginative prose with innovative yet absolutely accurate word choice within the boundaries set up by story development. Momentum in the writing with image-inducing prose should be pervasive to avoid loss of engagement of the reader.
Theme/purpose. Every story should engage a reader, entertain the reader, please the reader, and provide recognition or enlightenment (theme/meaning) so the readers will never see the world again exactly the way they did before the story was read. Fiction stories are not character sketches, memoir, biography, or journalism with untruths. And every story has to have more than an authorial catharsis describing authorial lives and events with description without imagination and discursive rumination of authorial thoughts and opinions. Fiction is art that emerges from imagination and is created with skill, structure, and revision.