Posts Tagged ‘voice’

Eight Fundamentals for Writing Fiction Stories Article About Writing Better


Wednesday, February 4th, 2015
William H. Coles

Eight fundamentals for writing fiction stories.

Prose
Characterization
Plot
Narration (POV)
Setting
Imagery
Meaning/purpose
Drama

There are many ways to think about the writing of great fiction stories. Both readers and writers can benefit by thinking of eight fundamentals and appreciating the interaction of the elements in an individual story. For the reader, appreciation of authorial skills can be enhanced and admired, and for writers, learning to determine strengths and weaknesses in the creation of the different elements can be valuable to balance story for an effective presentation.

1. 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, but clarity, accuracy, and concrete over abstract provide most effective prose for significant storytelling. Most readers prefer a distinct, often authoritative voice for narrator and characters.

2. Characterization is a key element for a literary story and is often most effective by in scene action predominating over discursive narrative telling. Its 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 integrate characterization and plot progression to create character-based fiction.  And each, at least, primary character has a recognizable core desire that contributes to solid logic of character motivations and reactions.

3. 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.

4. 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 credibility, reliability, and requirements of suspension of disbelief. Authorial control of the narration through the narrator must be consistent, complete, and meticulous.

5. Setting orients the reader to time, place, physical and psychic distance from story action, environment, and obstacles to plot progression. Best stories provide most settings through subtle integration in other elements avoiding extensive description.

6. 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.

7. Meaning/purpose. Every story should engage a reader, entertain the reader, please the reader, and provide recognition or enlightenment (meaning) so the reader will never see the world again exactly the way as before the story was read. Great fiction stories are not character sketches, memoirs, biographies, or journalism with untruths, and every great story has to have more than an authorial catharsis describing authorial events and characters with description and discursive rumination.  And for significance, authors create a moral framework for the story world that helps define character actions and thinking, suggest meaning, and enhance logic of the drama.

8. Drama keeps a reader's interest, moves the plot, and builds character.  Drama is conflict the precipitates action and requires a writer's ability to insert action in scene, in dialogue, and in narrative description.  Drama also can move the reader to feel the story and the characters.

Summary.  Writing fiction that is character-based with dramatic plots and meaning is an art form requiring both talent and diligent hard work and self evaluation.  Studying and learning the skills to use fundamentals effectively is essential in becoming a successful storyteller, but also useful in revision of early drafts to seek balance in the presentation and consistency in the writing.

 



Memoir Is Not Fiction Editorial Opinion


Thursday, September 20th, 2012
William H. Coles

Most contemporary literary writers write, and are educated to write, fiction as if it is a variant of writing memoir. Teachers of creative writing ask students to find what is meaningful for them, what is in their hearts? So when students write "fiction" stories–novels or shorter works–they write from their own experience; describe their own feelings; deliver their own opinions; describe their own memories for setting and scene events; and establish a voice for the work, their voice, without ever creating voices for a narrator or characters as distinct entities. Dialogue especially suffers, since everything in quotes is little changed from what the author would say and think.

But story structure is weak also. Fictional stories in memoir style seem to have little or no purpose and fail to have dramatic progression. In memoir style, almost always the author is the narrator, directly or indirectly, in first and third person, which limits the story presentation to the author's world-view, mind, and experience. And imagination (forming new ideas and concepts) to create story is limited in memoir style to the author's view of the world and descriptions of recollections.

Memoir-generated fiction is now accepted by readers as literary, mainly because of the number of authors who default to this style of writing. The style is easier to write and allows anyone, regardless of language skills, to tell a self-centered story that is increasingly being published today as literary fiction.  But is memoir-based fiction really being accepted by readers?  In today's stressed market with perceived shifting needs, literary fiction doesn't sell books to publishers' satisfaction. That may be because what is labeled as literary fiction is just sloppy memoir.

In the minds of most writers, what literary fiction is little more than a vague mist. Yet, the classics written as fiction (as it has continued to develop over the past three centuries) are rich with vibrant examples of great fiction.  Great literary fiction is character-based, that is, the strengths and weaknesses of characters drive the plot.  Great fiction is created by the author; told by the narrator in the narrator's own, distinct, world-view voice; and acted out by characters, who may in story-appropriate enhancing situations, create their own distinctive voices.  And literary stories have meaning, something happens, and someone is enlightened–character or reader, and often both be it usually in different ways.  Literary fiction is permeated with humor, usually in the form of irony, and has an understandable moral overlay, a morality that is story specific and not, for maximum effectiveness, the morality lived and pronounced by the author.  The writing in literary fiction is dramatic, interesting, engaging, and accurate with pinpoint word choice and carefully considered grammar appropriately chosen for the story.

And literary fiction is imagined, never just narrative description from authorial memories.  Not that the literary author doesn't draw on his or her experiences, and seeks stimulation from the past for engagement and function of the imagination.  For imaginative fiction, the author's world is only a nidus that stimulates imaginative use of a broader-than-author world, but the author's world is not the foundation or the embellishment of great literary stories. 

In essence and in contrast to memoir, literary stories are created by their authors, but authors create from broad views of the world fortified by experience and observation. Narrators and characters contribute to stories from their own special (author-created) worldviews.

The author's presence in the literary story is through the uniqueness of his or her creative abilities, the quality of the imagination, the skill of the writing, and by the author narrating through narrator and characters imagined for the story world; the author's worldview from their own narrow world is not present, or at least not dominant.

Literary fiction takes time, experience, hard work, vibrant imagination, and intellectual investment to produce unique, accurate, image-invoking writing and development of characters with unique characteristics that mesh synergistically with story, plot, and a recognizable reason for writing.  Great memoir is an excellently written, well-crafted presentation of an author's life events and experiences–often emotional and intellectual change–as told by the author.

Readers need literature written with fiction techniques and sophisticated narration to attain pleasure, a feeling of discovery, a new way of seeing the world, and a desire to continue to read to find the qualities of great stories and characters that only a writer of fiction, writing well and telling unique stories, can provide.




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