Posts tagged ‘Fiction’
Truth in Writing
Truth.
What is truth? And how does the truth affect the fiction and non-fiction in your writing?
The idea of truth illustrates a concept of right or wrong — scenarios of black or white. Is truth absolute? In between black and white are gray areas of perception and misunderstanding. Truth is filtered through our own perspectives and circumstances.
While trying to create, we arrive at authenticity in both fiction and non-fiction writing. In search of the truth and facts that validate our storyline and add accuracy to our words, that same truth is “distorted” — not in a false sense but as a glimpse through the eyes of the writer.
We “fictionalize” events even when we aim to adhere to the truth. And if we add enough imagining to our experience, truth or fiction is no longer the issue. They have become forever intertwined.
Consider the documentary that juxtaposes facts about an individual in such a way as to illuminate beliefs the individual may deny. Is this truth or fiction? What of a fictional piece filled with facts? Truth or fiction? And a piece embellished by the faulty memories of individuals interviewed?
Readers imagine the “fictions” we create and make them part of their reality. Are these realities now truth or fiction?
The past and the truth are slippery things, and the art of writing requires the writer to shape, as well as to explore the truth we share. Memorable writing, whether it’s fiction or non-fiction, explores what connects us and makes us human. Not as vague or lofty ideas but in clear, concrete written images. These physical descriptions evoke intellectual interest while impinging our emotions — and what affects us emotionally sticks with us. It becomes our truth.
We observe how people and characters act. What breaks them and how they put themselves back together. Whether we claim to want truth or fiction, we end up in the same place, with a combination of both — either through creativity in fictional writing or altered non-fiction by personal perspectives. We start with real images that evoke real feelings that transcend real time. But this preoccupation with what is real is naïve. Nothing is as it seems. And the truth rides within the gray perspectives of the writer.
–Melissa
Writing Tips: Tools for Writing Descriptive Fiction
Most novel writers will agree with me that the most difficult part of writing fiction is giving adequate description to make a reader feel like part of a story. There are a couple things to keep in mind when dealing with fiction: make sure that the reader has a good grasp of the setting that the characters find themselves in and never use emotions alone to describe how a character is feeling.
Painting a picture for the reader:
Writers sometimes forget that the only place characters truly live is within the pages of a book. Between the first and last page, you define the world that a character lives in. Don’t make it an empty world.
There are several ways to practice descriptive writing with setting. One of my personal favorites is to think of your book as a movie. When you are watching a movie you see everything, so it doesn’t need to be described to you. What if it did? When making a movie, there are whole teams of people that work to create sets. Every object has a place, and each object works together to create a scene. Try pausing a movie and writing down what you see. When describing the scene keep in mind what is the first object that gets your attention, is there anything unique about this room, what does the room sound and smell like. You can then apply that same type of visualization to your book.
Another way to practice is to try this same method with paintings. Photographs also work, but less time goes into creating a photograph than a painting. This is not to say photography isn’t a wonderful art form, but a painter painstakingly works on the placement of objects within a composition. And when it comes down to it, you are painting a scene for your readers.
Showing rather than telling:
Writing what a character is feeling can be very difficult. Emotions are vague by nature. So, rather than telling a reader what a characters emotional state is, write down the outward signs of that emotion. If an author writes that a character is mad, the description fails to capture what that character is truly feeling. A writer should show the reader a character is mad rather than telling them.
Here is an example of how an author could tell the reader a character is experiencing an emotion. Sally walked into the room. She was stomping mad and everyone knew it. The reader now knows that Sally is mad. But how did everyone in the room know she was mad?
Here is the same example, but this time I will show you she is mad. Everyone could hear the fast paced pounding of Sally’s determined steps as she came down the hall. As she came closer to the room, the sound became all anyone could focus on. There was a growing storm coming, and the thundering sound of her shoes told us it would envelope us soon. Before anyone could think to take shelter, she was in the doorway. We all knew it was too late to hide now. The darkness we all felt was contrasted only by the fire that blazed in her eyes. She razed her shaking hand and pointed at me. There was only one word that escaped through her clenched teeth, “You!”
The point:
A reader’s experience is shaped by the text on each page. You are creating a glimpse into another world. If that world is rich in detail, a reader will want to read more about it. Make the world and characters come alive.
-Michael F.
Nerve.com: Engaging Singles, Writing and Sharing Your Intimate Stories
So if you haven’t visited Nerve.com, you definitely should. More than just their superb and interesting content about social erotica, the latest fiction, current movies, dating and flirting advice posted by the experienced editors, their team has launched new writing avenues for the aspiring author.
Now, writers can explore to publish some of their most revealing work for millions to read every day, the newest of these writing avenues being “My First Time” and “Dating Confessions”. Essentially, if you’ve written (or are thinking about writing) a piece that reveals your first intimate encounter (however sweet, however strange) or maybe a date gone bad (perhaps horribly bad, where he drones on about his job and her laugh sounds like a hyena), then you can submit your short confession to the Nerve editors, who will review your piece for publication on the Web site.
Of course not everyone wants to be so cavalier with their love stories, and not everyone wants millions of people to read (and comment on) stories that may be close to their heart. But for those of you looking to expand your authorship and see some of your articles published, it can’t hurt to submit your personal essays to Nerve.com. The worst that could happen is a short rejection, maybe a comment from the editors on how to improve your submission for next time, and that’s it. Only one thing’s for certain: not submitting means you have absolutely zero chance of getting published.
Truth is, plenty of well-established authors and columnists have published (and gotten starts in the literary community) from Nerve.com. Case in point, Steve Almond, whose title story (first published by Nerve) from his infamous collection My Life in Heavy Metal skyrocketed his writing career. Your writing biography could unfold the same way, but you need to have the courage to submit your writing first and foremost.
Submitting personal stories and revealing confessions are never easy for anyone, especially writers, but transcribing the truth in words is the business we’re in. So if you want to pursue a career in writing, you should consider taking the leap, not just submitting your work to Nerve, but other magazines (e.g. Canteen, Missouri Review, Denver Quarterly, Open City, among countless others) as well.
This is Justin, blogcasting from Wordclay, signing off.
If It Sounds Like Writing: 10 Rules on Writing by Elmore Leonard
Note: I often refer people to this piece written by Elmore Leonard on the topic of writing. I thought it would be a good idea to share it with you.
These are rules I’ve picked up along the way to help me remain invisible when I’m writing a book, to help me show rather than tell what’s taking place in the story. If you have a facility for language and imagery and the sound of your voice pleases you, invisibility is not what you are after, and you can skip the rules. Still, you might look them over.
1. Never open a book with weather.
If it’s only to create atmosphere, and not a character’s reaction to the weather, you don’t want to go on too long. The reader is apt to leaf ahead looking for people. There are exceptions. If you happen to be Barry Lopez, who has more ways to describe ice and snow than an Eskimo, you can do all the weather reporting you want.
2. Avoid prologues.
They can be annoying, especially a prologue following an introduction that comes after a foreword. But these are ordinarily found in nonfiction. A prologue in a novel is backstory, and you can drop it in anywhere you want.
There is a prologue in John Steinbeck’s Sweet Thursday, but it’s okay because a character in the book makes the point of what my rules are all about. He says: “I like a lot of talk in a book and I don’t like to have nobody tell me what the guy that’s talking looks like. I want to figure out what he looks like from the way he talks … figure out what the guy’s thinking from what he says. I like some description but not too much of that… Sometimes I want a book to break loose with a bunch of hooptedoodle… Spin up some pretty words maybe or sing a little song with language. That’s nice. But I wish it was set aside so I don’t have to read it. I don’t want hooptedoodle to get mixed up with the story.”
3. Never use a verb other than “said” to carry dialogue.
The line of dialogue belongs to the character; the verb is the writer sticking his nose in. But said is far less intrusive than grumbled, gasped, cautioned, lied. I once noticed Mary McCarthy ending a line of dialogue with “she asseverated,” and had to stop reading to get the dictionary.
4. Never use an adverb to modify the verb “said”…
…he admonished gravely. To use an adverb this way (or almost any way) is a mortal sin. The writer is now exposing himself in earnest, using a word that distracts and can interrupt the rhythm of the exchange. I have a character in one of my books tell how she used to write historical romances “full of rape and adverbs.”
5. Keep your exclamation points under control.
You are allowed no more than two or three per 100,000 words of prose. If you have the knack of playing with exclaimers the way Tom Wolfe does, you can throw them in by the handful.
6. Never use the words “suddenly” or “all hell broke loose.”
(more…)
Submit to Poetry and Writing Contests: Margaret Reid Poetry Contest & The Writers of the Future Contest Now Open for Submission
One of the best drives and the most memorable payoffs in writing is entering (and sometimes winning) a literary contest. That’s why writers should always look for the writing contest that best suit their styles and formats, whether poetry (in the case of the Margaret Reid Poetry Contest for traditional verse form) or speculative fiction (in the case of The Writers of the Future Contest)
What is the Margaret Reid Poetry Contest?
The sixth annual writing contest sponsored by Tom Howard Books, the Margaret Reid Poetry Contest is now calling for submission of original, traditional verse forms. Simultaneous submissions are welcome, and you can also submit poems that have been published or won prizes elsewhere, as long as you own the online publication rights.
Prizes include: $2,000 (first prize), $1,000 (second prize), $500 (third prize), and $250 (fourth prize). There will also be five High Distinction Awards of $200 each and six Most Highly Commended Awards of $100 each. Fifteen top entries will be published on the Winning Writers Web site and announced in Tom Howard Contest News and the Winning Writers Newsletter, a combined audience of over 25,000 readers.
Though you have time – entries will be accepted as long as postmarked by June 30, 2009 – set aside the reading fee ($7.00 for every 25 lines submitted) and start revising your best poetry to win the biggest prize and publication.
The contest will be judged by John H. Reid, a former journalist and magazine editor who has judged literary contests for more than 15 years. He has published several novels, a collection of poetry, as well as many books on film criticism and movie history. The other judge of the Margaret Reid Contest is Dee C. Konrad, a leading educator and published author. Ms. Konrad was Associate Professor in the English faculty of Barat College of DePaul University, and served as Dean of Liberal Arts and Sciences for the year 2000-2001.
Read the complete contest guidelines here>>
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What is The Writers of the Future Contest?
Established in 1983 and sponsored by L. Ron Hubbard, The Writers of the Future Contest is now calling for submissions from the best aspiring writers in the field of speculative fiction and fantasy. Luckily, no entry fee is required, and all rights in the story remain the property of the author. All types of science fiction, fantasy and dark fantasy are welcome, just so long as the submission is original, written in English and under 17,000 words in length.
To cull only be best amateur writers, the contest is open only to those who have not published a novel or short novel (or more than one novelette or more than three short stories) in any medium or genre. For complete guidelines on format and submissions click here>>
Additionally, judges will award three cash prizes in each quarter: $1,000 (for first place), $750 (for second place), and $500 (for third place). Plus, the four first place winners of each year will have their entries re-judged, and a grand prize winner shall be determined then, receiving an additional $5,000.
So if you have the next breakthrough best seller in science fiction or fantasy, definitely consider The Writers of the Future Contest. Who knows – you could get the exposure you deserve as well as a bucket full of cash to fund your next novel.
This is Justin, blogcasting from Wordclay, signing off.
How to Tell a Story: Establishing Narrative with Beginning, Middle and End
If you’ve participated in a writing workshop or read about constructing stories, then you’ve probably heard about the infamous story arch, which includes: (1) situation, (2) conflict and (3) resolution. In other words, stories generally need beginnings (introductions to the situation and main character), middles (adventures or trials of the conflict) and ends (the resolution of the story’s main conflict).
Of course modern story forms need not follow this traditional format so strictly, but the three stages of story are still invaluble to writing great fiction, even if the general guidelines are bent a little (or even broken).
To help readers reconceptualize this basic storytelling principle, let’s consider Kirsten Lepore’s award-winning short stop-animation short film Sweet Dreams, a video which establishes situation, conflict and resolution in less than 10 minutes.
SWEET DREAMS BY KIRSTEN LEPORE
Stage One: Set the stage; introduce the major character and primary conflict.
Analysis: Not a minute into Sweet Dreams, viewers already understand that the main character is a cupcake, and he dreams of traveling outside of his candy town.
Stage Two: Watch the character(s) develop and/or endure the conflict.
Analysis: Due to a shipwreck, the cupcake is able to discover a new town and a new way of life that ultimately rewards him in the way of friendship and wisdom.
Stage Three: The conflict comes to a head, and the character changes or acts according to their previous development.
Analysis: The cupcake returns to his candy town only to be alienated by those whom he used to call friends. When a storm threatens to dissolve the candy town, however, the cupcake utilizes his new wisdom, builds a safe haven out of carrots and saves his people from disaster.
Obviously, most stories cannot be boiled down to such basic elements–there’s still room for tone, satire, dialogue, sub-conflicts and more–but Sweet Dreams clearly outlines the story principles on which most compelling narratives are based.
The Point: Always think about the beginning, middle and end of your stories, even if you ultimately choose to write your story in a non-traditional way. Remember that rising tension, character development and clarity are all necessary for every compelling story.
Top Five New Literary Magazines to Read: Discovering Fresh Voices & Writing Talent
Justin here, and after a heated brainstorming sessions here at Wordclay, our team has finally agree on the top five new literary journals to which all authors and writers should subscribe. Of course there are hundreds of great magazines that are publishing amazing poetry and prose – some up and coming as we speak – so we’re certain this list will be revised in the future.
The real question is: what makes a literary magazine worth reading? With so many new journals emerging online and in print, with so many varying tastes and aesthetics, how can anyone separate the good from the bad?
The short answer is: there just isn’t a definitive way of separating them. Some prefer curling up with The New Yorker or The Paris Review, while others adamantly subscribe to The Missouri Review or The Denver Quarterly. As the saying goes, there’s no accounting for taste, and our decisions this time around could only be based on our personal preferences, the only criteria being that the magazine started publishing in the last decade.
So without further ado, here’s the Wordclay bloggers’ list of lit journals to check out in 2009. And if you’re a writer, check out their submission guidelines and current contests. Remember, it can’t hurt to submit your work, but it can seriously hinder your writing career if you never send your prose or poetry out. Besides, you might even get a free subscription to a great new magazine from submitting.
Canteen MagazineAbout Canteen: Canteen redefines the literary magazine. Their staff asks accomplished writers to reveal their creative process, and then they pair that insight with the best new work in fiction, poetry, art and photography — all designed to look more like a fine art book than a dusty old journal.
Mission Statement: “Canteen is the literary magazine that comes with instructions. We admire what writers and artists do, and we want insight into how and why it’s done. To get that, we ask contributors to move beyond the boundaries of genre and final draft to delve into reputation, ferocious drive, unmarketable dreams, the danger of reader takeovers, and just what makes a work important.”
Submission Guidelines: Canteen accepts original fiction, nonfiction, and poetry of up to 4,000 words. They are also interested in essays and commentary that relate to the creative process. Canteen accepts original individual images or portfolios of up to 10 images by a single artist, in a variety of media, including photographs, drawings, paintings, sculpture, video stills and digital art. Please submit all work to Canteen at: submissions@canteenmag.com.
Announcing Contest for Authors & Readers Hosted by BookRix.com
Win as an author…
…and as a reader!
“Web Your Book” Award
BookRix.com is proud to present readers and writers with their first official writing competition, called “Web Your Book.” Authors as well as readers can enter the competition and win attractive prices.
Visit BookRix.com for Complete Guidelines>>
Timelines and Deadlines
The submission period of the competition runs for eight weeks starting December 9, 2008, which means that authors still have enough time to register one of their BookRix books for the competition. The deadline for entry is February 1st 2009, 6 p.m. (EST). Authors are completely free in the genre: short stories, poems and everything else is welcome. The only requirement is that the book be longer than 20 BookRix pages.
Readers are able to vote for their favorite books on December 9, 2008 and February 15, 2009 the. This vote will ascertain the winners of the competition. The authors who are ranked number one to five the competition charts on February 15, 2009 at 6 p.m. (EST) will win the listed prizes.
Prices for Authors:
First Prize: $2000.00
Second Prize: $1000.00
3rd – 5th Prize: Amazon Kindle E-Book-Reader
Prizes for Readers:
$100.00 each will be given to three readers following a raffle.
BookRix.com provides users with a platform to:
- find other readers and authors
- share thoughts about interests in groups
- discuss books and projects
join author fan clubs
- participate in writing competitions
- Connect within a literary network
- write book reviews
- send your books to friends and family
- find top-rated and new books
The Wovel: Choose Your Own Adventure Novels & Literary Fusion
Recently discussed in a NPR segment called The Wovel: Literary Alternative To Browsing Blogs, the wovel (or the Web novel) is now inching its way into the public eye. Instead of surfing the Internet for blogs and news, readers are now turning to this new form of choose-your-own-adventure writing, where users can actually decide the direction of the next installment by simply utilizing the binary vote feature located at the end of each chapter post.
For example, perhaps a character is torn between traveling north to rescue a princess from an evil tyrant, or traveling south instead, in order to meet with a wizard who may know the meaning of life itself. Either one of these scenarios can be played out, pending a majority vote, which readers can submit each week.
“The way we read is changing,” as Rick Kleffel of NPR said, and it’s true. Many individuals read in bursts nowadays, their only opportunity to enjoy writing on breaks from work or between family pursuits. Say you’re taking your 15-minute break from the office, so you jump online, check your e-mail, and afterwards, when you’re looking for something to fill the next 10 minutes, you might not want to start such a lengthy pursuit as a novel. Instead, you may turn to the breezy nature of the wovel, whose serial installments might satisfy your literary itch in whatever short time you have to spare.
As an integrated, online and traditional print publisher advocating the wovel, Underland Press has recently started publishing this new genre. Underland Press’s Founder Victoria Blake wanted to offer exciting, edgy fiction with a touch of the fantastic, and the wovel seemed like a natural approach. Combining the serial novel format with the pace of journalism and the latest in Web technology, Blake has adapted to the ever-changing literary sphere, appealing to people who love to read and actively engage writing, but those who perhaps only have time to read a chapter every now and again.
Some readers are a little wary of the wovel’s implication, suggesting that bursts of reading might cheapen the literary experience. Of course, we need to maintain the novel — Blake isn’t suggesting otherwise — but what do you think? You’re the one reading this blog burst, perhaps on your lunch break, so your opinion is the one that could make or break the wovel’s presence within the online literary marketplace. Join our discussion, submit your opinion, and keep the ideas coming.
This is Justin, blogcasting from Wordclay, signing off.
Words of Belief Announces Winners of Holiday Story Writing Contest
Back from the holiday week with a bang, Words of Belief has selected its winners and finalists for the Holiday Story Writing Contest they hosted in the previous months. Out of hundreds of submissions their judges received, only 15 were pulled for publication in their coming anthology, Tis the Season: Selected Stories of Contemporary Fiction and Nonfiction.
So please join us in congratulating the grand prize winner, the editor’s selection, as well as the 13 other finalists who will appear in Tis the Season:
Grand Prize Winner: Tyler Powell, for his story “Churchmas Eve”
Judges comment on Powell’s “Churchmas Eve”:
When reading the stories submitted to the Wordclay holiday short story contest, a theme among the submissions surfaced. What do the holidays mean? This question was a common theme that the stories explored and even attempted to explain. There was one story that embodies the search to find meaning in the holidays versus the shallow commercialization of the season.
Tyler Powell’s short story, “Churchmas Eve,” successfully distills the struggle of keeping spirituality in Christmas. However, Powell’s story is a complex menagerie of characters, all of who are at odds on how the holiday should be celebrated.
Jeanette, the overbearing mother, wants to observe the strictest definition of Christmas. She wants no gifts, Christmas lights, or carols. Her son, Bobby, like any kid, wants a version of the holiday that is more festive and embraces contemporary traditions. And Larry, Jeantte’s husband and Bobby’s father, is stuck in the middle. Larry concedes to his wife’s demands for a stern interpretation but he longs for Bobby to enjoy Christmas as well.
Regardless of the internal struggle between the main characters, Bobby finds his own meaning for Christmas. Bobby’s interaction with a homeless man helps him realize what the holiday means to him, personally.
In the end, Powell has a created a classic story that explores the internal and external conflicts surrounding the holidays. This is why “Churchmas Eve,” is a successful, endearing story.
Click here to preview Powell’s story>>
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Editor’s Selection: Judy Nickles, for her story “I Was Hungry”
Judges comment on Nickles’ “I Was Hungry”:
Judy Nickles’ “I Was Hungry: A Very Kate Christmas” was a very pleasant surprise. I’m a big fan of historical fiction, and when it’s done well, it transports you, body and soul, to the author’s chosen place and time. Such was the case with this story. (more…)
