The Secret to Proper ParagraphingThe Secret to Proper Paragraphing by OokamiKasumi
Once you know what your characters and doing and saying, how do you get all that down on Paper without ending up with a huge confusing mess?
Putting the Story on Paper.
Everybody knows that when a new speaker speaks they get a new paragraph, right? In other words, you DON'T put two different people talking in the same paragraph. Okay, yeah, so anyone who has written any kind of fiction learns this pretty darned quick, (usually from their readers.)
What nobody seems to get is that the same goes for a new character's ACTIONS. Seriously, when a new character ACTS they're supposed to get their own paragraph -- even if they don't speak!
In short, you paragraph by change in CHARACTER -- not because they speak, but because they ACT. Ahem... Dialogue is an ACTION. In other words, the reason you don't put two different characters' Dialogue in the same paragraph is BECAUSE you don't mix two characters' Actions. Okay?
"Wait a minute,
Basic PLOTTINGBasic PLOTTING by OokamiKasumi
A plot is the pattern a story follows, the most common being:
All successful (read: popular) stories have patterns. Sometimes it's simple, sometimes it's complex, but all of the stories read or told often enough to remain in the popular mind of any culture have a pattern, a plot.
Here are some examples of simple plot patterns
American Dream Version:
He became very rich.
The Heroic version:
He became the leader of his people.
He died in the middle of a glorious battle to defend his land, and became a legendary figure that would never be forgotten.
Aristotle's Elements of a Greek Tragedy - simplified:
Act One: He rose to glory.
The Art of VILLAINYThe Art of VILLAINY by OokamiKasumi
The Art of VILLAINY ~ Making Realistic Villains for your Fiction ~
"People will do far more to Avoid Pain than they will to Seek Pleasure."
-- CIA Profiler Gavin DeBecker on Human Nature
When I craft a villain, I go out of my way to make darned sure that my fictional villains are as realistic as the villains we face in real life. I begin by giving them ordinary human Issues.
Within every villain (fictional and non-fictional) there's a human issue at core that drives them to BE villains in the first place. Even mass murderers have reasons (however twisted) for doing what they do.
NO villainous action is RANDOM.
The victim may be randomly chosen, but the action -- no matter how twisted -- always has a reason behind it. That reason is ALWAYS driven by a very human issue triggered by an unfulfilled and essential human need.
Key Human Issues:
* Desire for Connection
Pesky Point of ViewPesky Point of View by OokamiKasumi
DISCLAIMER: Before anyone starts screaming about this article not emphasizing the Creative aspect of writing, please understand that this information was hammered into my head by my editors. This is what I had to learn to see my work published.
That doesn't mean you have to follow it! As with all advice, feel free to take what you can use and throw out the rest.
Pesky Point of View
What is Point of View (POV)?
-- It's the view of the person telling the story.
First Person: I am telling the story.
Second Person. I am telling the story to YOU. (Diaries and letters are commonly written this way.)
Third Person: He is telling the story.
Close Third Person: He had no clue how he got roped into telling this story, but he was telling it, and by god, they better listen up!
Omniscient Distant POV: The camera's eye view. (No internal narration what so ever. You only know what the camera sees. This is the POV u
The LAYERS of FictionThe LAYERS of Fiction by OokamiKasumi
"If you have Action and Dialogue, do you really NEED Description too?
What is the difference?"
The Layers of Fiction
"Himawari-chan, I have your lunch!"
"Here you go Himawari-chan!"
"Thank you, Watanuki-kun!"
"You are very welcome, Himawari-chan."
"I see. Of course. Thank you, Yuuko-san. Do I need to tell you what she said?"
"No! No, you don't, and I don't want to hear it! I don't need a freaking baby-sitter!"
"Yuuko thinks you do."
"That's her! Not me!"
"Are you a fortune-teller?"
"No! Of course not!"
"I'll come get you after class. I'll get the instructor to let you wait while I practice."
"What? No! I said I don't want to wait !"
"You gonna eat that?"
"Yes I am!"
"I do not, not, NOT take orders from you!"
This is "Talking Head Syndrome." There are no dialogue tags, because I don't use them.
Essentials of a Short StoryEssentials of a Short Story by OokamiKasumi
Essentials of a Short Story
Quotes raped from a critique of Nathanial Hawthorn's Twice Told Tales by
Edgar Allen Poe - 1837
Edgar Allen Poe, celebrated as one of the finest short fiction writers of all time, was also a literary critic. These are bits of his wisdom on writing short stories, gleaned from one of his critiques.
"The true critic will but demand that that the (story's) design intended be accomplished, to the fullest extent, by the means most advantageously applicable " -- Poe
Poe's Prerequisites -- in a Nutshell:
To deliver fullest satisfaction, a short story should be structured:
1) To be read in one sitting.
2) Using a deliberate number of characters and incidents.
3) With words restrained in style and tone.
4) All done that should be done, with nothing done which should not be.
Poe's Prerequisites -- in DETAIL
A short story should be structured:
1) To be rea
Sentence Structure for FICTIONSentence Structure for FICTION by OokamiKasumi
On Basic Sentence Structure for Fiction
(Grammar Nazis BEWARE!)
Everything I ever learned about writing Fiction DIDN'T come from school; not even college. In fact, the way one writes fiction is almost the complete opposite of everything I learned in school about writing.
In order to make my stories crystal clear in my readers' imaginations, I write in precise Chronological Order, in the order events actually happen, PLUS in the order that the eye sees it.
Case in point, when describing a character, I describe them from top to bottom, in the order that the eye notices them. Face, hair, upper body, arms, hands, then lower body, legs, feet, then over all impression.
Interior MonologuesInterior Monologues by OokamiKasumi
"I was just wondering what you think about interior monologues, long passages of reflection?" -- Curious Kitty
A note on:
-- Interior Monologues
Whether you are considering adding a lengthy monologue to a story, or intend the monologue to be the story itself where the focus of the entire story is on one character's thoughts and feelings with very little action -- from my observations and experimentation, the readers either love them or hate them. There's no in-between.
However, it is notable that the internal monologue stories that are sought out most frequently tend to focus on a profound emotion of some kind: grief, loneliness, heartache... Usually by either those seeking to deal with such an emotion, as a kind of therapy, or by those that have never felt such emotions. (Strong emotional stories are extremely popular among young adults.)
In both cases, not only does the reader seek to submerge the
I have a very varied taste in things. At one moment, I am flying a Focke Wulf 190 D-13 over Norway, another I am sparring in the old world, then I am riding a horse over the plains of central America with a Remmington New Army on my hip. But if anything, I'm more of an Earth Science buff.
~ Maruki Konkuro
Founder of Kelacao