Because writers are the gods of the little universes they create, eventually they must make hard decisions about their characters. And unless you’re a psychopath or sociopath, the hardest of them all is deciding which characters to kill and when.
Even in genres where it might seem like death isn’t going to or shouldn’t rear its ugly head, like romance, it can be an important background event. But it’s just as important not to overuse it. Violent video games have shown us that too many deaths leave people desensitised. But one perfectly-timed and meaningful fatality might be exactly what your story needs.Continue reading
Just because everybody loves a good listicle (so I hope it qualifies), here’s the A to Z of writing.
A is for Authenticity – you don’t have to know what you’re talking about. Write what you know, write what you don’t know but just make sure you sound like you know what you’re talking about. If you write about the police force and someone actually in the police force reads your book lacking in accuracy or verisimilitude (the ring of truth), then that person won’t hesitate to tell the world. And you’ll just come off as someone who couldn’t be bothered doing a little bit of research.
B is for Brainstorming – it’s one thing to have an idea but to bring it to life with all the little details that give it depth, you’ll have to do a lot of brainstorming. If you want to write about a man who kills his father, great (maybe not for your father, who might wonder why). But it becomes two very different stories depending on whether the son had a happy upbringing or an abusive one. And only brainstorming will get you to the point where the story makes meaningful sense.Continue reading
I love character development but these days I always prioritise plot development, perhaps because it comes less naturally to me. But unlike character development, plot development is a much broader concept. Sometimes a good way to see if your plot is working is to compare it to some of the theories of how stories should be structured.
Back when I was doing my master’s degree, there were four theories I used to prepare my major assessment piece for the Script Adaptation subject. They’re not specific to script adaptation or even screenplays, but these theories are generally known as film theories.
So what? If it works, it works, regardless of whether we’re talking about short stories, novellas, novels, films or documentaries.
It might not work for everyone but if you compare your plot to these structures and find you can’t identify a key act or part in your story that these theories say it should have, perhaps you might have found the missing link.Continue reading
Last year, I read an article in the Writers Victoria monthly magazine where a writer was digitising her back catalogue with the assistance of her daughter. It was only when her writing was considered as a whole that she realised a theme ran through many of her pieces: knives.
At the time of writing, she hadn’t realised it and she certainly didn’t have any particular fascination with sharp, pointy kitchenware. But unconsciously, or perhaps subconsciously, knives appeared with a reasonable consistency.
I read the article with interest but then put it aside, not realising that I was also a victim of a similar problem. I say “problem” because my recurring themes were much more obvious than just a simple object. And now that I’m aware of them, I’m a little embarrassed that I didn’t notice them sooner.Continue reading
This has happened to everyone so often it’s a plot cliché in itself. You’re watching a TV show or a movie or reading a book and instead of being surprised by what happens next, it has you rolling your eyes either because you saw it coming a long way off or because you’ve seen the exact same plot point in about a thousand other TV shows, movies and books.
Now the list could potentially be as long as the proverbial never-ending piece of string but here’s a few humdinger plot clichés to be avoided if at all possible (and it’s almost always possible).Continue reading
I have a habit of coming up with characters and story ideas and then setting them aside for years before finally getting around to doing anything about them. This was the case with Livia Black, the heroine of my complete but unpublished crossover young adult novel called Black Spot.Continue reading