There was a chase. And then the good guy jumped over the fence, and then the bad guy saw the gate unlocked and ran through it after her (What? Who says the “good guy” can’t be a girl?). Then he caught up to her and grabbed her arm. Then she unleashed her inner woman warrior she’d tapped into in a recent self-defense class. He gasped and then groaned as he fell to the ground.
You know what’s wrong with this scene? Sure, many things, but one was exaggerated to make a point. We are over-using the word “then,” people!More
Not since “It was a dark and stormy night,” has “It was…” been a recommended start to a sentence. And, really—if we’re getting down to it—the famous Edward Bulwer-Lytton quote could have been stepped up a notch.
Just think about the difference between “it was a dark and stormy night” and “the stormy night was dark.” The switch is a simple one, but suddenly, the line is more direct and a bit ominous.
A writer could (and should) take it further, practicing the old advice of show don’t tell. This exercise might lead to a more evocative sentence still:More
When writers show readers the world around their characters, this is when a story can come alive. It’s the difference between dialogue existing on a black movie screen and an exchange that stirs your readers’ imaginations.
Sometimes, you might realize description would enhance a scene, but you aren’t quite sure how to turn a sentence from simple into masterful. There are three common weaknesses I stumble upon again and again in my editing work, so I wanted to pass on some possible solutions that may help.More
You know what’s great about people? We’re all different. How I say things is totally different from how my husband does, which is totally different from how my mom would, which is totally different from how my two year old would. Why? We’re different people. We have different language patterns, different brains, and different life experience.
Moreover, if you put me in a room with these people, the way I stand—perhaps swaying as if I’m holding a baby (even though I might not be)—is different from my husband who might be stretching, or my mom who might be talking with her hands, or my two year old who… well… has an inability to stand still.
People are different. When you write about your characters, allow them to be distinctive. All shouldn’t wink at each other when they say something clever; they shouldn’t all gesture with their hands, nor sigh heavily, nor twirl their dark mustaches menacingly (okay, maybe you weren’t using that last one for everyone). When writing falls into a pattern, you see the author’s personality, not the characters’. And the author should be the invisible hand that guides the story, not the center focus, right?More
Every writer who’s ever taken a creative writing class has heard the instruction: “Show don’t tell.” It’s so often said, it’s almost meaningless. Except it shouldn’t be. Because if actually understood, being able to show and not tell can make the difference between a humdrum story and a tale that comes alive.
“Show don’t tell” is classic writing advice, and for good reason. Imagine the difference between reading, “she’s angry,” and reading, “her hands tightened into fists; her fingernails pressed so hard against her palms that blood surfaced to her sensitive skin.” Okay, maybe I made that up really quickly, and it’s not the most eloquent of lines. But you see what I’m going for. There can be a named emotion, and then there can be the reality of it that a reader can be pulled into.More