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Darling Mionette's
A Writer's Guide To The Second Draft

Oh noes. Let those be my first words in this tutorial. Now that I've gotten that out of my system, may I never mutilate the English language in that manner again. Welcome to my tutorial on the dreaded "Second Draft" of creative writing. If you've read my other tutorial (How to write - and love it), then you're well aware of why I call this the dreaded second draft, but if you haven't, then let me explain: I am a firm believer that all editing in creative writing should be left to the second draft. The first draft, should remain edit-free so as not to stem creativity.
Going into this tutorial, I am making the assumption that at this point, you have finished your first draft completely (from beginning to end) and now have a finished (albeit in need of editing) novel sitting in front of you. If you don't, don't worry, most of the information in this tutorial can still be applied. So, for those of you who haven't finished writing (or worse yet, haven't started) let's start with the basics.
Tools of the Trade
There are many tools a writer uses, and we're going to explore a few essentials.
1. A Dictionary. Yes, A Dictionary. Whether you use it or not is beside the point---you should at least own one, dig it out.
2. Thesaurus. What's that? A Thesaurus is sort of like a dictionary, but instead of explaining the definition of a word - it gives you a list of words that mean the same thing. (or at least mean similar things).
3. Depending on whether you'll be writing on the computer, a typewriter, or on paper... you'll need appropriate writing materials.
Now in this day and age, very few people still use typewriters. They're clunky to lug around, and to edit a page, you have to retype the entire thing. (OMG the horror). Pencils and paper are perfectly acceptable, and still quite commonly used for those who don't have access to a computer... but in recent years, computers have become the way to write (because let's face it.. eventually you're going to have to transcribe that paper-written story so it can be printed), and as such, let's look at some writing software.
Microsoft Word
Word Perfect
Microsoft Works
Notepad
Open Office Writer
yWriter
These are some of the most common writing software available (not to say there aren't hundreds more - because believe me, there are). All of them work well for writing, but let's be honest, some of them are better than others. My favorites are Microsoft Word, yWriter, and Open Office Writer. yWriter and Open Office Writer are both 100% free writing applications. Open Office Writer is nearly identical to Word in function (so if you don't have a copy of Word, you should try it out instead). yWriter is good for writing your first draft (the reason: it lets you set word count goals and keeps track of them for you. It also has tools to help you keep track of characters, POV, objects, scenes, etc.... but lacks the editing tools Word has). Word, however, is my favorite of the group, and the reason is this: COMMENTS. For those avid Open Office users out there, yes, Open Office Writer does support comments--but (and believe it or not, this is the one difference that seals the deal for me) the comments in Open Office are related to a single point in a line, whereas Word's comments are based on highlighting a single point, OR an entire block of text. It's not a big difference, but when I'm writing comments, I like to see what I'm writing the comment about.
The reason I mention comments, is because I've found over the years, that comments are the single best way to edit a computer-based manuscript. It allows you to insert a comment either inline, or off into the margin of your document, anywhere within your story. I like to use it to point out errors I come across while I'm editing, or questions and reminders I want to point out to myself. For instance, if I run into a particularly long paragraph, I might highlight the paragraph and write myself the comment "Can this be chopped up more?" and move on. That way I don't have to stop and fix the problem right then--I can come back later and fix it. Another function I recommend (available both in open office and word) is the Track Changes feature. When turned on, the writing program will "keep track" of all the changes you make to a document. If you delete a sentence, it will cross it out (but leave it there), if you add something, it'll change the text color so you can see the changes. Etc. The advantage of this feature, is if you aren't sure if you want to change a sentence or not, you can always change it... and then change it back later. Your original sentence is still there if you want to write it back in--it isn't forever lost in the void.
Another useful tool, is the find and replace feature. Just about every writing program has it (including notepad). Again, Word and Open Office go one step beyond the rest, and both contain a find and replace feature that also supports HIGHLIGHTING. Allowing you to find a word, and replace it with a highlighted alternative. This works great for spotting problem words.
Characters: The backbone of your story.
Some of you are probably looking at this and thinking, "Wait... characters are the backbone of our story? I thought that was plot." Let me state this early on. Characters are the most important element of a story. Your plot can suck, and your characters will still carry the story. The opposite is not true. So let's look a little more into characters, and some important things about them.
EVERY STORY NEEDS THREE CHARACTERS: Bare minimum. Don't forget, however, that objects and events can sometimes can become characters in their own right. (Anyone remember Wilson from Cast Away?). The three main characters that all successful novels must include are:
1. The Protagonist: This is your Main Character (MC). Now, don't mistake your protagonist for the good-guy. A lot of writers honestly believe that the protagonist is the "good guy" of the story--and that isn't always true. Sometimes, the villain can be the Protagonist.
2. The Antagonist: This is your Main Character2 (MC2). This character is the one character that is always against your Protagonist (whether they be good or bad), they are always in direct opposition of your MC.
3. The Poker: This character is your Main Character3 (MC3). The Poker has been called many things. I've seen him described as the "middle-man", the guy stuck between the protagonist and the antagonist. I've also seen him referred to as "the ally", the supporting buddy. I prefer to call him "the poker", because he's the third wheel in your story that pokes things along. This is the character that supports or antagonizes both your protagonist and antagonist, forcing the story to progress. Without him, the story would never happen - because nothing would ever change.
Now, this isn't to say that you can't have more than three character to your story. You can, and often will, but you need these three, bare minimum.
KEEP YOUR CAST LIMITED: Now this is going to be an odd suggestion, but try to keep the cast of your story limited. The more characters you have, the more confusing your story becomes, the more viewpoints that come into play, the longer the scenes get, and worst of all--the less screen time each character is given. Don't throw in random minor characters every chance you get; use only those that are absolutely needed for the story. Everyone else should remain name-less, face-less, and easily fade into the background.
AVOID MARY SUE'S: For those of you unfamiliar with the term, a Mary Sue is a character that is "too anything". Too perfect, too cool, too evil, too good.. you get the idea. These are characters easily recognizable because they're so utterly unbelievable. Characters need to have a good balance of characteristics, both good and bad, in order to be believable. Following some tips on how to create believable characters:
EVERY CHARACTER SHOULD HAVE A MOTIVATION
What drives them? What is it that they need? What is it that they want? Their motivation should taint everything they do in some small way. For instance: My MC3 has the motivation that he desperately wants to gain atonement for a past decision he made that lead to the torture of a young girl. Everything he does in the story is fed by that motivation. Whether it be his conversations with my MC1, or MC2, or how he treats all the young girls he meets in the future... his motivation is present in everything that he does.
EVERY CHARACTER SHOULD HAVE A PERSONAL OBSTACLE
What is it that your characters fear the most? What is the worst thing (they believe) that can happen to them? Everyone has these fears, your characters should too. For example: My MC1's personal obstacle is that she desperately fears that at some point in her life, she is going to be captured by my MC2. It's happened before, and she barely survived it. Like a motivation, the personal obstacle taints everything she does. Because of it, she is always cautious--afraid to be caught.
INSERT A LITTLE OF YOURSELF INTO YOUR CHARACTER - BUT DON'T INSERT YOURSELF INTO THE STORY
This is where a lot of Mary Sue's get born. There is a difference between inserting a little of yourself into your characters - and becoming a character in your story. NONE of your characters should be the souped-up version of you. If you want to transfer one or two traits - that's fine. For instance, Another MC1 of mine, loves the smell of coffee, but refuses to drink it. (Until recently, I was the same way). There's no fault in including a little of yourself in your characters, as long as your characters don't become a stand-in for you.
BALANCE
Every character should have both flaws, and desirable traits. It should be an equal balance between the two. This goes for both PHYSICAL, and EMOTIONAL traits.
NO BLACK-HATS, NO WHITE-KNIGHTS
No one is 100% good, no one is 100% evil. It doesn't happen. Good people can make bad choices, and bad people can do nice things. Accept it. Remember it.
COSTUMES
What your character wears relies on more than just fashion. Don't dress up every character in your novel in the ideal cool-character clothes. It won't work. Costumes should be based on:
a) Practicality: Zombie-fighting heroine's aren't going to be dressing in evening gowns.
b) Availability: Post-Apocalyptic hero's aren't going to be wearing the latest Abercrombie and Fitch designs.
c) Personality: You wouldn't dress up your hyperactive and optimistic character in all black.
d) Emotional State: A crazy person isn't going to be as well-groomed as a well adjusted kid from the suberbs.
e) Relationship State: A girl on the prowl for a date isn't going to dress the same as a girl in a steady-relationship.
EVERY CHARACTER HAS A SKELETON IN THEIR CLOSET
Every character has a skeleton in their closet - and at some point, you're going to let it out. Quite literally, every character has a secret, big or small, something in their past, or something they know, that they'd prefer if it didn't get out. Eventually, you should get around to letting it slip.
NAMES
Names should be short. Avoid long ones when you can, but if you must use them, have a nickname prepared. Avoid gender-neutral names (Terry, Sam, Billy) unless it has some relevance to the story. Avoid first names or last names that could be mistaken for first names/last names (Thomas). Avoid names that have the same letter or sound at the beginning of their first and last names. (It just sounds funny). Be unique - but not too unique. If there's more than one way to pronounce it.. go back to the drawing board. Avoid names ending with "s", otherwise you run into problems. (Thomas's / Thomas' / Thomases?) You get the point. Don't try to be overly cute (Randy Cummings) Sadly I went to high school with that guy... and though obvious: Don't use the same name twice. If you're going to use names of family members or friends, be aware that they may take it personally when your character of the same name is made out into a villain, or killed in some gory way.
BE AWARE OF YOUR CHARACTER'S VOICE
Be aware of your character's voice. Does your character have a pet phrase? Do they speak in verbose paragraphs or clipped sentences? Do they speak slow or fast? Do they use slang? Do they have an attitude? Humor? Do they have a toxic nature? Do they sound educated, or like a teenager?
KNOW YOUR CHARACTER'S PHYSICAL APPEARANCE
Know your character's physical appearance. Find a photograph that looks like what you want your character to look like - and keep it handy for when you want to describe them. This also keeps you from accidentally changing details about your character because you forgot what you'd already written.
PSYCHOLOGICAL MAKEUP
Know the emotional and mental state of your character. How do they think? What fears do they have? Phobias? Quirks? Someone emotionally unstable may act rash in their behavior and do things they normally wouldn't do!
CULTURAL INFLUENCES
Know the culture they grew up in, and how it has effected them. If your character was raised very recycle-friendly, they probably wouldn't go around needlessly wasting paper products and might use a canvas bag to haul groceries rather than plastic.
MORAL COMPASS
Know their morals, and how far they would cross the moral line. Do they find murder acceptable under "certain circumstances?" If they were forced to, would they resort to cannibalism to stay alive?
SOCIAL STATUS
Social Status: be aware of their social status.. are they middle class? Poverty stricken? Rich and famous? Depending on their social status, other characters may treat them differently (or they may treat other characters differently!)
REMEMBER THAT SECONDARY CHARACTERS ARE MAIN CHARACTERS OUT OF FOCUS
They have their own stories - and everything that applies to the protagonist/antagonist, also applies to them. Just because they're out of focus, doesn't mean they have to be 2-dimensional. (you never know when you may give them their own story later!)
EVERY CHARACTER MUST CHANGE
The characters you start with... shouldn't be the characters you end with. Each character should change with each thing that happens to them in the story. By the end of the story - they should be a different person than how they started.
CHARACTERS ARE NEVER RANDOM
If it seems random, it's because you don't know why they're doing it. Find a reason. If you have them do something "random" for no other reason than to be random... your readers will see the author standing off to the side throwing things into the story because they ran out of things to write about. Believe me, they'll notice.
ALL CHARACTERS SHOULD BE DISTINCT AND UNFORGETTABLE
If the reader doesn't remember the character's name to the end of the book - you did something wrong.
IF YOUR CHARACTER IS "GOOD/EVIL"
Make sure they have some, if not all, of these traits.
a. Have a distinct voice and attitude.
b. Should be likeable, even if that means they are a bit quirky.
c. Should have an interesting career or skill set. (or crime)
d. Should be likeable if good, or at least sympathize-able if bad.
e. Should be flawed or vulnerable, both physically and emotionally. (and even mentally)
f. Should be able to connect to the readers on a very human level.
g. Should be capable of humor or irony
h. Should be capable of fear, but not enduring cowardice.
i. Should be physically appealing - but not perfect. (Or, physically fascinating, even if repulsive)
j. Should be alive at the end of the story (unless a) self sacrificing, or b) ill)
k. Good, but not angelic / wicked, but not demonic (unless an actual demon/angel)
YOUR CHARACTER SHOULD HAVE A GOAL
This goal should be substantial in content, difficult to attain, legal or at least honorable, must be a goal that your readers either sympathize with, or at least understand, and of course, contested by any number of forces.
Plot & Structure
Oh plot - how we hate thee. Plots are sometimes the hardest part of writing. They require a lot of planning and structure to get right (unless you're amazingly lucky). Let's look at some important things to remember about your plot--things you want to make sure you haven't left out.
HAVE A THEME
Your plot should have an over-all arching theme. For example, your overall "theme" might be "Love Conquers All". Having a theme helps to keep your plot together - so even if your current chapter is only used to character-build, the underlying theme will help tie it in with the rest of the story.
MOTIVATION, GOALS, & OBSTACLES
The motivation, goals, and personal obstacles of your characters should taint everything they do - and therefore, the plot as well.
EVERY SCENE MUST SERVE A PURPOSE
This is one of the big ones. Every scene must serve a purpose, be it to further character development, further the main plotline, or advance a relationship. If your characters are just sitting around chit-chatting for no other reason than you needed a time filler - you're doing something wrong.
THE KEY TRAITS
Every plot should:
A) Appeal to the intellect: Give the reader something that they will use in their life, share information, have substance, have a focus, be logical.
B) Appeal to the heart: Have a sense of connection with the reader, be written in an engaging way, have humor, be simple, be entertaining, be fast-paced, be full of imagery, be creative, and be exciting.
C) Appeal to the soul: Provide comfort, happiness, truth (or at least fairness), provoke people to think or act, be memorable, leave the reader with a sense of WOW, and include some sense of transcendence (heroism, justice, beauty, honor).
The more of these traits you have - the better.
PLOT STRUCTURE
The general plot structure goes thus:
1. Story begins. We are introduced to the Main Characters.
2. Complication Arises. Things don't go the way the Main Characters want them to, or start to take a downward spiral.
3. Emotional Turning Point: Something happens to change the Main Character's views. They have an epiphany, or they make a hard decision.
4. Climax. The worst thing that could possibly happen, does. (see your character's personal obstacle for ideas!)
5. Resolution. All subplots get tied up, whatever went horribly wrong will be turned right, and the story ends.
That isn't to say that you should only have five chapters, it just means, this is the general idea of how your story should go - you can use as many scenes as you need to accomplish it.
PLOT CHECKLIST
[ ] Substantial tension at every turn?
[ ] Varied scene pace?
[ ] Action either rising to a confrontation, or falling from one?
[ ] Utter absence of boring, static scenes?
[ ] Singularity of the central story line? (one main plot?)
[ ] Subplots that support the central story line?
[ ] Is the ending the final climactic struggle between the characters?
[ ] Is the climax the most powerful scene in the story?
[ ] Does resolution offer redemption to the protagonist? Redemption should always be offered - let the character decide if they take it.
[ ] Is there recognition that every element in the story pointed toward the end?
[ ] Were lessons learned for both the characters and the readers?
[ ] Did the protagonist confront the antagonist?
[ ] Was the conflict resolved in the protagonist's favor?
[ ] Did you avoid "coincidences" and "divine intervention"?
[ ] Did you avoid more than one flashback? (It'd be better if you had none).
[ ] Does the plot make sense?
[ ] Are we left with a sense of wonder?
World Building
I'm not going to get too much into world building - it's a vast topic. But I do have a word of advice: To create realistic worlds, make them familiar, but different. You don't want to change everything about them to make them completely different from our own - or your readers won't believe that it's possible. Keep some elements familiar, and then throw in some differences that make it clear that your characters aren't living in the same world as we are. Example: An urban New York like setting... except it has a caste system, OR an underground city, but your main character still has to go to public school. Throwing in both new and familiar elements is what makes your story believable, and interesting to read. Your reader needs to be able to relate to it somehow.
Point Of View (POV)
Now, there are several points of view. Some you may be more comfortable with than others. Let's explore each, and their advantages/disadvantages.
1ST PERSON - "I am doing."
In first person point of view, the story is told from the view of the protagonist. The advantages of using first person are:
1. It feels natural. When people normally talk (or think) we have a tendency to say "I..." so it's easy for us to read this format, and not notice it.
2. We only have to deal with one mind. Hopping in and out of characters' heads can be confusing- to the reader, and the author.
3. We can create a very distinctive internal voice - without having to worry too much that all our characters "sound" the same.
4. The narrator can be unreliable. You can use this POV to trick your readers, because they know only what your protagonist knows.
The disadvantages of course, are:
1. We are limited to one person's viewpoint. This can make it difficult to understand what other characters are thinking, or understand their motives.
2. The narrator must always be on stage (or observing it). Every scene will have the protagonist in it. You can't have them leave the room... or the "camera" goes with them.
3. Can't visit other character's heads. We don't now what they're thinking, or what they know.
2ND PERSON - "You are doing."
Never use 2nd person. It's eccentric and quirky, and almost never taken seriously. Forget it exists. It offends readers because they feel like you're "telling them what to do". No one like's that.
3RD PERSON UNLIMITED OMNISCIENCE - "He is doing."
This is a very commonly used viewpoint, but can be hard to master. Advantages:
1. Author can be in any character's mind, at any time.
2. We see lots of different POV's, which offers more chances to enrich the novel with contrasting characters the reader can identify with.
3. It allows the author and the reader to take a breath of fresh air during tense moments by switching POV.
4. You can broaden your novel's scope to different settings and conflicting POV's - even to characters that have never met.
Now the problems...
1. You can easily confuse yourself and your reader unless every voice is distinctive.
2. It can easily diffuse the flow and impact of the story by switching too often.
3. It is very easy to get lazy and begin narrating as the author instead of the characters.
3RD PERSON LIMITED OMNISCIENCE - "He is doing."
This POV is slightly different from the other 3rd person POV. In this POV, the author enters the minds of a very limited cast of characters (Protagonist and the Poker mostly). It has all the advantages of the 3rd person unlimited omniscience POV, but also has the ability to concentrate on the story by keeping major characters and strategic minor characters in the lime-light. It has no disadvantages.
HOW TO DECIDE YOUR POV
The choice is really up to you when it comes to deciding your POV. My best advice, is tell the story from the POV that tells it best. If you have characters that won't meet until midway through the story (or at the end) then you'll probably want to go with 3rd person limited omniscience. If you have one character that's going to be present in every scene and you want to follow them around - go for 1st person. I personally recommend that you stick to 1 POV (even if you can switch characters) unless absolutely necessary. The less character-hopping you do, the easier your story is to follow, and the less work you have to do making sure each of your characters sounds different.
THE LAST POV WORDS OF ADVICE
1. Don't head-hop. Tell the story from one character's POV per scene. If you hop back and forth constantly it just gets tiring.
2. Never follow the antagonist. If you follow the antagonist you're going to give away all the surprise elements of the story - or worse, your readers will fall in love with the antagonist and start rooting for them - and be disappointed with your protagonists wins in the end.
Where To Start
Every story has to start somewhere. Make sure yours starts with ACTION. Now, that doesn't mean you have to hop into the middle of a car chase... you could--or you can have the character drop something.. or bump into another character.. or, begin with dialogue. Do not start your story with description, a flashback (Read more about Prologues below), or yuck.. back-telling. Back-telling is when you write a story like you're trying to update your best friend over the phone on something that just happened: "Two days ago this happened, and then this, and then an hour ago I did this.. and I said that.. " you get the idea. The story begins with the first word, and you better make sure that from that point forward, everything said has some impact on the story. Also, don't start your story with poems/lyrics.. believe me when I say that no one thinks you are being clever - and no one ever reads them. EVER. And last but not least, don't start with the weather. You can describe it later, but give it a paragraph or two.
PROLOGUES / EPILOGUES
First thing's first, don't do an epilogue. If your story doesn't wrap up in a neat little bow - you're doing something wrong, don't use an epilogue as an excuse to add more - no one ever reads them anyway. Second, Prologues. I've heard a lot of negative things about prologues.... but before I get into that, let me explain what a prologue SHOULD BE. A prologue is a chapter of your story that sits disconnected from the rest of your story (usually because it happened long before your story - or because whatever happened during the prologue had a direct impact on your story... but doesn't include any of the main characters). It should be relevant to your plot, and without it, the story shouldn't hold up. If your prologue doesn't fall into that category.. throw it away. We don't need dream sequences, or flashbacks about when your protagonist was a young child and their father left... A PROLOGUE SHOULD NOT BE A FLASHBACK FOR THE MAIN CHARACTER. I can't repeat that enough. Which leads us to...
FLASHBACKS
You should almost never have one. Ever (and certainly don't start your story with one). Instead, let your characters reveal the information that would have been revealed in the flashback, in their own time and way. Dialogue is good for this. If you aren't sure whether you should have a flashback or not : ask yourself this question: "What information am I trying to show with the flashback?" If it's purely musing or sentimental reasons - delete it. If it's a phrase or short conversation that happened at an earlier point in time - try having your character "think" the phrase to themselves and discuss it over in their heads - or have them bring it up with another character. If the "clue" or "information" you're trying to present is a physical one (like a gesture someone did, or how someone was behaving), you can also have your character think it, or discuss it with another character - but if you can't for some reason (the character isn't horribly social) then yes, a flashback would be appropriate - but keep it short. The flashback should only be as long as is needed to impart the information you are trying to share - no longer. Flashbacks are very jarring to your reader because it pulls them out of your story, thrusts them into another scene, and then pulls them back and expects them to continue on as if it hadn't happened. Do not use a flashback because you are too lazy to try another option.
Chapters & Paragraphs
Stick to the rule of one. Each chapter should be 1 scene. (or part of a scene) if you change locations or time, start a new chapter. There is no rule on how long a chapter should be... it can be 1 paragraph, or it can be 30 pages. For paragraphs, the same applies. Each paragraph should have 1 central idea behind it. It can be long, short, or even 1 line, as long as your central idea hasn't changed. (though I'd recommend breaking up long paragraphs for ease of reading). New paragraphs should be forced every time a) there is a change in speaker, or b) a change in actor. This is especially important where there's dialogue (to keep your reader clear about who is speaking).
Narrative - That stuff that isn't dialogue.
Narrative - the bane of all writers. Why? Because it's the actual writing part. I've compiled some tips of things to remember about narrative, and things to look for.
1. When settings a scene, remember that it includes location, time, atmosphere, details, and impressions. Don't make the mistake of starting your scene at the side of the road in a forest... and then not clue your reader in that it's foggy, 3AM, and in the middle of no-where. Believe me, it makes a huge difference.
2. Use your five / six senses. Sight, Sound, Taste, Touch, Smell, annnnnnnndddddd feelings. Use them as often as you can without sounding ridiculous.
3. Don't forget body language. It says a lot.
4. Emotions... make them obvious, and share them when they change.
5. Show, don't tell when describing. The difference: Telling is like when you're telling a campfire to someone: "She opened the door, and out popped a monster!" Showing, requires you to "see" the story in your head, and then describe it in such a way that your readers can see it too. "She turned the lock, wincing at the sudden click, and eased the door open. Her muscles tense, she waited to see what was on the other side of the door..." blah blah blah. you get the idea. (forgive how crappy that example was).
6. Only describe what will further your plot in some way, or helps the reader to understand your characters. We don't care that the stop sign was red. We do care that there was blood smeared across it. Limit your descriptions to relevant information.
7. If you're going to describe something in detail, describe it as soon as it's noticed by your narrator. Don't wait a paragraph.
8. Description should always reflect the opinion of the character seeing it. A person who likes a Chihuahua might describe it differently than a person who hates them.
9. Don't describe the same thing in the same way more than once. It's fine if you mention she has brunette hair... but don't refer to it as "her brunette hair" every time you have to mention it. Think up something new.
10. DO Describe: Scenery, location changes, and anything the reader doesn't inherently understand going into the story. Leave nothing to interpretation - you might not like how people interpret it.
11. Limit descriptions to three characteristics at a time. Why? Because that's about as much as people can handle having dumped on them before they just start skimming. If you need more than three characteristics.. wait till the next time an opportunity pops up.
12. Let your characters describe themselves - without pointing a finger. Have your character make a comment about themselves, or make it a point to notice something about them selves, without having them (or you) start in with "she had brunette hair, and was 5'4". She had blue eyes, and had a green rubberband in her hair...". Keep character descriptions limited to a) facts relevant to the story, or b) general impressions. You don't have to say your character is 5'4" and 120 lbs. They could be described as petite. If your characters are going to describe someone else - always do it in relative terms... "He was half a head taller than me..." These kind of self-comparisons are also good for showing contrast between your characters, and filling in details you left out earlier. "His eyes weren't blue, like mine, but the color of rich coffee..." you get the idea.
13. Narrative should always tell the truth. There is one exception: in first person POV your narrator is your character, so you can use them to lie. They can only tell the truth 'as they know it'.
14. When describing a scene, remember to ask yourself these questions: How does my character feel right now? How do they feel about this place? What would they like to do? What will they do? How can I show these with my description and environment?
15. Cause & Effect: every action has a reaction, and every reaction, causes an action. When writing your narrative, remember to keep your actions and reactions in the correct order. It should always be Action->Reaction. You can't have a character react to something that hasn't happened yet (even if it's in the same sentence).
16. Don't forget the formula for how people react to an action: Action->Character's Knee-Jerk Reaction->Physical Sensation (if there is one)->Emotional Response->Voluntary Reaction->New Action. etc.
17. Never stop your story to describe something. Description should add to your story - not shove it aside.
18. Incorporate imagery into actions. If your character does something, tell us about it.. don't just say "he went to the store".
19. Try to see the scene through your character's eyes - leave out the author's point of view.. you aren't part of the story.
20. Use lots of tiny, but telling details. If a character is nervous, don't just say they're nervous... do they fidget? Do they pick at their nails? Does the pace of their speech increase? Show us with details.
21. Remember to use action-bearing verbs and non-verbs: words that describe, but also indicate emotion. If your character is angry, you might have them "thrust" something away, rather than "push" it away.
22. When describing people, remember to describe them in the way most people notice a person: top to bottom. If it's sexual, bottom to top, and if they're dangerous, hands to top, to bottom.
23. If it feels like your character is always "doing" something, create action without actually doing it. Use your description to infer that something has taken place rather than giving a blow-by-blow account.
24. All narration should be absent of philosophizing, preaching, and musing.
DIALOGUE
Finally, dialogue. Here's some things you should remember and look for:
1. Dialogue can lie. Where as narrative is almost always truthful - characters can lie. Don't be afraid to let them.
2. All dialogue should be laced with conflict. (more about that below).
3. Dialogue should consist of speech, AND body language. 90% of a conversation isn't spoke aloud.
4. Kill all dialogue tags unless you have no other choice. Dialogue should be distinct enough, or supported by strong narrative enough that you should almost never have to explain who is speaking by adding a dialogue tag. If you have to use a dialogue tag, use something invisible: "said", "asked".
5. Don't speechify. Monologues are bad - and no one in their right mind is gunna sit around and listen to you do it.
6. Avoid chit-chat. Unless you're doing it to make a point (like show nervousness) Don't chit-chat. Your character's aren't going to talk about the weather, or their cousins coming to town unless it's relevant to the story.
7. Avoid clutter. Don't say have your character say anything they don't have to. Use as little words as possible to get their point across and still stay within character.
8. Silence can sometimes be dialogue. Don't be afraid to have your character not respond to a question - or not finish their sentences. People do it all the time.
CONFLICT IN DIALOGUE
I said I'd explain, so here I am. Here are some ways to show conflict in dialogue.
1. Overt Aggressiveness: action or language that inflicts or threatens some form of abuse.
2. Passive Aggressiveness: hostility in which a seemingly submissive character can wreak havoc on a dominant one via implied threats.
3. Provocation: when one party taunts or dares another.
4. Undercurrents: when conflict remains beneath the surface of the conversation. Everyone knows they're arguing - but their words don't state it - their actions or mannerisms do.
5. Ambiguity: the reader and characters may not be able to decide if conflict is actually taking place beneath the surface - but it's hinted at. Only the author knows.
6.Subliminal conflict: the characters engage in what they think is innocent banter, but readers know that disaster looms right around the bend.
7. Word choice: clipped words with aggressive sound choices. (frack! is a good example.. it isn't a swear word, but it sounds like one).
8. Sentence length: abruptness.
9. Paragraph length: short.
10. Rhythm: rearranging words to suggest conflict, especially if you create a snap at the end of the sentence or paragraph: "When I talk, you listen."
11. Repetition: angry people often repeat themselves. Repeat key phrases to add emphasis, but don't do it too often.
12. Change the language to the affirmative: instead of "I'm not kidding" use "I'm serious."
13. Imperative: Add emphasis to the most neutral of statements, and increase the potential for conflict. "I don't think you should tell her the truth" vs "Don't tell her the truth. Lie. Lie your tail off."
14. Aggressive or defensive body language.
GENDER SPECIFIC
Remember to keep your narrative and dialogue gender specific to your character. You want each of your characters to sound unique - not the same. Here are some gender-specific tips:
-Males are usually direct and to the point in conversations. A conversation to them is a means to an end, be that information, or something else entirely. Their emotions and short-comings are usually well guarded. They will not admit to being at fault if they can avoid it. Men take everything at face-value. They don't look for subtext, they don't use subtext. They are "simple", and usually lie only if it a) helps to preserve their status, or b) it gets them a girl. Men will take any sort of "confidence" sharing (secrets or private conversations) as a conversation - nothing more.
-Women are usually very indirect in their approach to conversation. They dance around the real topics at hand, and instead, slowly meander their way around the point until it either becomes obvious, or they are asked about it. They like to over-discuss everything, and are very emotional creatures. They will admit to fault if it will gain them a sympathetic ear. They are manipulative as a whole, and will "bend" the truth in order to turn a conversation their way. Women take any sort of secret-sharing or personal one-on-one conversation as the first step in gaining rapport. They become attached to the people they have conversations with almost instantly.
Grammar & Punctuation
Active /Passive Sentences- An active sentence follows this construction: who / did what / to what. Example: I / ate / an apple. A passive sentence, has the "who" and "To what" switched: An apple / was eaten / by me. Passive sentences aren't bad - but they are wordy, and because of this it is almost always preferable to weed them out when you can. The exceptions are:
1. Use a passive sentence to emphasize an object.
2. Use a passive sentence to de-emphasize an unknown subject/actor.
3. If your readers don't need to know who is responsible for an action. (or to avoid giving away a clue!)
4. Sometimes, the passive version of a sentence, is the only one that makes sense - or just plain sounds better. Example from my own writing: "This was my last day, and had it been any other day, I'd have been arrested." Try making that active and not having it sound horribly wrong. I tried. "This was my last day, and had it been any other day, they would have arrested me." Just doesn't have the same ring to it.
Don't be afraid to keep the one's you need, and don't be afraid to prune out the ones you don't.
Fragments
Fragments are incomplete sentences. A complete sentence, is an entire thought. A fragment, is an unfinished thought. Examples: (Sentence) "I ran home to see my favorite cow." (Fragment) "Named Bessy." Yah, that doesn't make much sense. Usually if you have a fragment, it's because you either a) forgot some words, or b) screwed up your punctuation. It's all right to have fragments in your dialogue. Dialogue is immune to most rules (because no one ever speaks 100% grammatically correct).
Run-Ons
Run-on sentences are not necessarily long sentences (thought they can be). Run-on sentences are two or more incorrectly joined independent clauses. (Like if you took five separate sentences, took out the periods, and threw in a few "and" 's.) Learn to separate your ideas into their own sentences.
Example of a run-on: I went to the store and I bought some milk and I carried it home and I put it in the fridge.
Comma Splices
Comma splices are run-on sentences with a comma where the two independent clauses run together.
Example of a comma splice: I went to the store, I bought some milk, I carried it home, I put it in the fridge.
(doesn't work any better than the run-on does it?)
Coordinating Conjunctions (Or as I like to call them, connector-words)
Coordinating Conjunctions (connector-words), are words such as: for, and, nor, but, or, yet, so
The general rule is: You should never start a sentences with a connector-word. They're meant to connect sentences, not start them. If you feel the need to use one, you should probably be combining your sentences with the one in front of it, or trading it for a semi-colon and a "though". Example:
"I like cows. But I hate pigs." is wrong.
"I like cows, but I hate pigs." is correct
"I like cows; I hate pigs, though." is also correct. <-try to use this one only in case of an emergency.. usually combining your sentences works fine.
Correlative Conjunctions
Correlative conjunctions are: either/or, neither/nor, not only/but also, both/and.
If you use them, make sure you use them properly (see above), and don't forget to have both parts.
Semi-colons and Conjunctive adverbs
furthermore, therefore, for example, however
They tend to sound a little stuffy, but to use them correctly they should be placed with a semi-colon at the front, and a comma at the rear:
I like cows; therefore, I like Bessy the cow.
The Period
1. Ends a complete sentence.
2. Is used after a command.
3. Is not to be used after individual letters in an acronym.
4. Is used after initials.
5. Is used after Roman Numerals.
6. Is used after letters or numbers in an outline <-.
7. Is always used inside quotation marks.
The Question Mark
1. Is used after a question.
2. Is used inside of quotation marks if it's part of the quote or dialogue.
3. Is used outside of quotation marks if it's not part of a quote or dialogue.
Exclamation Mark
1. Use sparingly. A good writer can write an exclamatory sentence without having to use a single exclamation mark.
2. Use only after an exclamatory sentence.
3. Never use more than one.
4. Never use with any other form of punctuation. (?!?... none of that)
The Comma
1. Use after introductory phrases.
2. Use after interrupting words or expressions.
3. Use to set off words of direct address.
4. Use with Names and Titles.
5. Use to set off words in apposition (words that give additional information about the preceding or following word or expression).
6. Use to set off nonessential clauses (the clause can be deleted without changing hte meaning of the sentence).
7. Use to separate items in a series.
8. Use to separate parts of a compound sentence (before the coordinating conjunction).
9. Use to set off direct quotation.
10. Use to separate parts of an address.
11. Use to clarify any potentially confusing sentences.
12. Use with numbers. (1,000)
The Semi-Colon
1. Use between closely related independent clauses.
2. Use between main clauses when the coordinating conjunction has been left out.
3. Use to join independent clauses when one or both clauses contains a comma.
The Colon
1. Use before a list.
2. Use before a long quotation (especially formal).
3. Use before part of a sentence that explains what has just been stated.
4. Use before a definition.
Quotation Marks
1. Use to set off a speaker's exact words. (Dialogue)
Single Quotation Marks
1. Use to set off quoted material within a quotation.
2. Use to emphasize a title.
Hyphen
The hyphen is one (-).
1. Use it to show a break at the end of a line.
2. Use it to show a sudden interruption of speech at the end of a quote.
3. Use in certain compound-nouns, fractions, and compound numbers.
En Dash
The en dash is two (--).
1. Use the en dash to show a range between values.
Em Dash
The em dash is three (---).
1. Use the em dash to show a sudden change in thought.
2. Use the em dash before the summary of a sentence.
Hyphen / En Dash / Em Dash
In order of size, the hyphen is the smallest of the dashes, then the en dash, then the em dash. Beware the en dash and em dash. In some writing software, the en dash is omitted, and two --'s become the em dash. Make sure you know what your program uses. It is also acceptable to use a ( -- ) (space, en dash, space) in place of an em dash in most countries (but not australia or canada).
Elipses
"..."
1. Use to show deleted words or sentences.
2. Use to show an extended pause or trailing off.
Contactions
don't, won't, shouldn't, you get the idea. You can use them however way you want. Generally I write my first draft completely void of contractions (do not, will not, should not), and then when I get around to doing the second draft, I read for the ones that stick out, and replace those with the contractions.
Be On The Lookout For Redundant Phrases
"honest truth", "past experience", "fatally killed", "partial stop", "null and void" etc. The more you think about them, the more absurd they get.
Be on the lookout for Buzzwords
"nice", "central", "major", "good", "excellent", "quite", "very", "basically", "really", "field", "case", "situation", "character", "kind", "scope", "sort", "type", "thing", "element", "area", "aspect", "stuff", "factor", "nature", "quality". They're commonly used (and abused) words that aren't necessary to the meaning of a sentence. They cause your sentences to be wordy - and boring. Cut them out if you can.
Other Words To Watch Out For
(this is my own personal list)
"of course" - Means DUH.
"ly ", "ize", "tion", "sion", "ment", "ance" - at the end of a word, especially between "the" and "of". Usually the sentence can be reworded stronger.
"is", "are", "was", "were", "be", "been", "being" - followed by a word ending in -ed. Could denote a passive sentence.
"make", "made", "involve", "involved", "provide", "provided", "that", "just", "really", "very", "quite", "sort of", "walk", "ran", "run", "look", "saw", "heard", "thought", "seem", "seemed", "you", "ing ", "suddenly", "instantly", "briefly", "for a moment", "after a moment", "as", "like", "good", "bad", "went", "got", "came", "do", "get", "nice", "then", "started to", "begin", "began to" "start to" - mostly just words that denote sloppy or weak writing - they could be better.
Italics / Bold / Underline/ Parenthesis / Brackets
The only one of these that should ever be used, is italics. Italics are used in novel-writing to emphasize a phrase or word, especially in dialogue, or when showing sarcasm. It is also used often when showing something the character is reading, or has written, or when the character "thinks" something.
Lookout for redundant phrases
"repeat again", "red in color", "small in size", "few in number", "complete stop", "continue to remain" etc.
Expletive Constructions
"It is", "there is", "there are", "there were" (ouch I do this a lot) They only delay the point of a sentence. Example: "It is necessary for all children to be in bed." could be: "All children should be in bed." OR "There were three cats in the barn." could be: "Three cats are in the barn." It isn't always possible to get rid of these - they are sometimes needed, but a lot of the times, you can prune them, so watch for them.
Be Concise
When you write a sentence, try to write it in the clearest and shortest way possible in order to get your point across. You can always add more words later, but it's harder to cut them out. Also, when choosing your words, choose carefully: choose the most precise word possible - not the next best thing. Example: "green fruit" isn't nearly as precise as "lime-green Granny Smith".
Tips & Things to Look Out For
1. -ly adverbs. If you see them, ask yourself this question: "to _____ _____ is to...?" example: "to run quickly is to...?" answer? "sprint". If you can't apply that question, it probably isn't a problem. Just a nifty trick to help you weed out a few of those suckers!
2. -ing words. There's nothing wrong with -ing words, unless you use them too often. Try not to use more than one in a sentence (less if you can). Too many of them can make your writing dull.
3. Make sure your action is before your reaction!
4. White space is good. Don't be afraid to break up paragraphs and dialogue with some white space if your page is getting a little "wall of text" looking. It helps your reader stay focused.
5. As does not = And. It is better to have As at the beginning of a sentence, than in the middle. Example: (bad) "She hummed as she walked down the hall." (good) "She hummed and walked down the hall." or (good) "As she walked down the hall, she hummed."
6. One "And" per sentence. If a second is needed, use a comma or a "then" instead.
7. Beware using multiple words in a row that begin with the same letter. The same goes for sentences that begin with the same word, and paragraphs that begin with the same word or phrase.
8. Avoid cute quotation marks, or "winks". Example: She was "doctor".
9. Avoid brand-name revelations. It's fine that your character has a super neat car.. but we don't need to know it's make and model number.. how many miles to a gallon it gets.. or where it was manufactured. Thank you.
10. Avoid politically correct assumptions or observations. People are rarely politically correct. Your character doesn't have to be.
11. Avoid "of course" and "naturally" it's like saying "DUH."
12. Avoid static situations and lenghty descriptions. ACTION ACTION ACTION.
13. Avoid philosophizing, musing, wondering, any form of pontificating.
14. Avoid repeating anything. Ever.
15. Avoid anything too quirky. You may think it's cute, but if it makes you smile, it's probably making your audience roll their eyes.
16. NEVER USE ALL CAPS.
17. Avoid sentences that are longer than 25 words. It can happen - but usually if you have them, it's because your punctuation is off.
18. Avoid stupidity. If you hear someone in your house, you don't go running into the unlit basement without a weapon, and expect to come up all right.
19. Avoid "very", "rather", "quite", "really" they are filler words.
20. Don't use parenthesis.
21. Avoid repeats. Oh looks.. we had that one already.. hrm...
22. Read your sentences aloud. It helps you find flow problems, misspelled words, incorrect punctuation - you name it. Seriously, try it.
21. Beware of your negatives and positives. Try to write positive. Example: Dont use "I don't like pickles." use "May I have a tomato instead?" You may think it's not important, but the subconscious brain reads it and thinks "negative! negative! negative!" and starts setting up a defense.
22. The rule of one: The plot should have one main idea. Each chapter should be one scene. Each paragraph should have one concept. Each sentence should make one point. Keep it simple
23. Thesaurus': Useful, but don't abuse them. Make sure you know what the words you are picking actually mean. Don't use big words just to avoid using a repeat word.. it'll sound fake.
24. Check your readability stats! In many writing programs (for instance, Word) you can find your readability stats. Run it on paragraphs, or chapters (not the whole story). You want your scores to come out something like this: Words per sentence = 15 max. Characters per word = 4.5 max. Passive Sentences = 5% max. Flesch reading ease = 80% Minimum. Kincaid Level = 6 max. It'll help you ensure that you're writing clearly and concisely.
25. Murder your darlings (Hemingway) It may be a spectacular sentence, but if it does your story no good, get rid of it. If it makes you feel better, copy and paste it into a notepad file entitled "My Beloved Darlings" and treat it as a cemetery. Things go on the list, but they don't come off.
26. Start your story with a hook, and end each chapter with one.
27. Start at the beginning of your story - and write towards the end. Don't skip around, or you're liable to forget something.
28. Be personal. You want to connect to your readers on a very human, very real level. Let your characters show what they're made of!
29. Always offer redemption to your characters - let the characters choose to take it.
30. Research EVERYTHING. The internet is your best friend.
31. Watch your tense. All stories should be written in past tense. Why? It's the natural tense for storytelling. Present tense is just plain distracting.
32. Spell check...and then break out your dictionary and make sure.
33. Keep a close eye on your subplots and objects. Write them down as they're introduced into the story - and make sure you always know where they are. It'll suck if your character picks up a gun in one scene.. and then picks it up again 10 minutes later.
Writer's Block?
It's a fancy way of saying PROCRASTINATION. If you feel overwhelmed, and don't know where to pick up where you left off, do some writing exercises! Prompts are a fun way of getting your creative juices flowing. Also, don't be afraid to throw in something random! If you don't know what to do in your plot - throw in an argument. Believe me, your characters will get you out of that scene real quick.
Well, ladies and gentlemen, that's all for now. (OMG that was a lot of information). The tips and tricks I've listed here are things I've gleaned off many a writing how-to, personal experience, and the few writing books I own. If you're interested in some, I recommend:
The Complete Idiot's Guide to Grammar and Style - Laurie E. Rozakis, Ph. D.
The Complete Idiot's Guide to Writing A Novel - Tom Monteleone
The Writer's Little Helper - James V. Smith, Jr.

:) (Smile) — Description
Darling Mionette's
A Writer's Guide To The Second Draft

Oh noes. Let those be my first words in this tutorial. Now that I've gotten that out of my system, may I never mutilate the English language in that manner again. Welcome to my tutorial on the dreaded "Second Draft" of creative writing. If you've read my other tutorial (How to write - and love it), then you're well aware of why I call this the dreaded second draft, but if you haven't, then let me explain: I am a firm believer that all editing in creative writing should be left to the second draft. The first draft, should remain edit-free so as not to stem creativity.
Going into this tutorial, I am making the assumption that at this point, you have finished your first draft completely (from beginning to end) and now have a finished (albeit in need of editing) novel sitting in front of you. If you don't, don't worry, most of the information in this tutorial can still be applied. So, for those of you who haven't finished writing (or worse yet, haven't started) let's start with the basics.
Tools of the Trade
There are many tools a writer uses, and we're going to explore a few essentials.
1. A Dictionary. Yes, A Dictionary. Whether you use it or not is beside the point---you should at least own one, dig it out.
2. Thesaurus. What's that? A Thesaurus is sort of like a dictionary, but instead of explaining the definition of a word - it gives you a list of words that mean the same thing. (or at least mean similar things).
3. Depending on whether you'll be writing on the computer, a typewriter, or on paper... you'll need appropriate writing materials.
Now in this day and age, very few people still use typewriters. They're clunky to lug around, and to edit a page, you have to retype the entire thing. (OMG the horror). Pencils and paper are perfectly acceptable, and still quite commonly used for those who don't have access to a computer... but in recent years, computers have become the way to write (because let's face it.. eventually you're going to have to transcribe that paper-written story so it can be printed), and as such, let's look at some writing software.
Microsoft Word
Word Perfect
Microsoft Works
Notepad
Open Office Writer
yWriter
These are some of the most common writing software available (not to say there aren't hundreds more - because believe me, there are). All of them work well for writing, but let's be honest, some of them are better than others. My favorites are Microsoft Word, yWriter, and Open Office Writer. yWriter and Open Office Writer are both 100% free writing applications. Open Office Writer is nearly identical to Word in function (so if you don't have a copy of Word, you should try it out instead). yWriter is good for writing your first draft (the reason: it lets you set word count goals and keeps track of them for you. It also has tools to help you keep track of characters, POV, objects, scenes, etc.... but lacks the editing tools Word has). Word, however, is my favorite of the group, and the reason is this: COMMENTS. For those avid Open Office users out there, yes, Open Office Writer does support comments--but (and believe it or not, this is the one difference that seals the deal for me) the comments in Open Office are related to a single point in a line, whereas Word's comments are based on highlighting a single point, OR an entire block of text. It's not a big difference, but when I'm writing comments, I like to see what I'm writing the comment about.
The reason I mention comments, is because I've found over the years, that comments are the single best way to edit a computer-based manuscript. It allows you to insert a comment either inline, or off into the margin of your document, anywhere within your story. I like to use it to point out errors I come across while I'm editing, or questions and reminders I want to point out to myself. For instance, if I run into a particularly long paragraph, I might highlight the paragraph and write myself the comment "Can this be chopped up more?" and move on. That way I don't have to stop and fix the problem right then--I can come back later and fix it. Another function I recommend (available both in open office and word) is the Track Changes feature. When turned on, the writing program will "keep track" of all the changes you make to a document. If you delete a sentence, it will cross it out (but leave it there), if you add something, it'll change the text color so you can see the changes. Etc. The advantage of this feature, is if you aren't sure if you want to change a sentence or not, you can always change it... and then change it back later. Your original sentence is still there if you want to write it back in--it isn't forever lost in the void.
Another useful tool, is the find and replace feature. Just about every writing program has it (including notepad). Again, Word and Open Office go one step beyond the rest, and both contain a find and replace feature that also supports HIGHLIGHTING. Allowing you to find a word, and replace it with a highlighted alternative. This works great for spotting problem words.
Characters: The backbone of your story.
Some of you are probably looking at this and thinking, "Wait... characters are the backbone of our story? I thought that was plot." Let me state this early on. Characters are the most important element of a story. Your plot can suck, and your characters will still carry the story. The opposite is not true. So let's look a little more into characters, and some important things about them.
EVERY STORY NEEDS THREE CHARACTERS: Bare minimum. Don't forget, however, that objects and events can sometimes can become characters in their own right. (Anyone remember Wilson from Cast Away?). The three main characters that all successful novels must include are:
1. The Protagonist: This is your Main Character (MC). Now, don't mistake your protagonist for the good-guy. A lot of writers honestly believe that the protagonist is the "good guy" of the story--and that isn't always true. Sometimes, the villain can be the Protagonist.
2. The Antagonist: This is your Main Character2 (MC2). This character is the one character that is always against your Protagonist (whether they be good or bad), they are always in direct opposition of your MC.
3. The Poker: This character is your Main Character3 (MC3). The Poker has been called many things. I've seen him described as the "middle-man", the guy stuck between the protagonist and the antagonist. I've also seen him referred to as "the ally", the supporting buddy. I prefer to call him "the poker", because he's the third wheel in your story that pokes things along. This is the character that supports or antagonizes both your protagonist and antagonist, forcing the story to progress. Without him, the story would never happen - because nothing would ever change.
Now, this isn't to say that you can't have more than three character to your story. You can, and often will, but you need these three, bare minimum.
KEEP YOUR CAST LIMITED: Now this is going to be an odd suggestion, but try to keep the cast of your story limited. The more characters you have, the more confusing your story becomes, the more viewpoints that come into play, the longer the scenes get, and worst of all--the less screen time each character is given. Don't throw in random minor characters every chance you get; use only those that are absolutely needed for the story. Everyone else should remain name-less, face-less, and easily fade into the background.
AVOID MARY SUE'S: For those of you unfamiliar with the term, a Mary Sue is a character that is "too anything". Too perfect, too cool, too evil, too good.. you get the idea. These are characters easily recognizable because they're so utterly unbelievable. Characters need to have a good balance of characteristics, both good and bad, in order to be believable. Following some tips on how to create believable characters:
EVERY CHARACTER SHOULD HAVE A MOTIVATION
What drives them? What is it that they need? What is it that they want? Their motivation should taint everything they do in some small way. For instance: My MC3 has the motivation that he desperately wants to gain atonement for a past decision he made that lead to the torture of a young girl. Everything he does in the story is fed by that motivation. Whether it be his conversations with my MC1, or MC2, or how he treats all the young girls he meets in the future... his motivation is present in everything that he does.
EVERY CHARACTER SHOULD HAVE A PERSONAL OBSTACLE
What is it that your characters fear the most? What is the worst thing (they believe) that can happen to them? Everyone has these fears, your characters should too. For example: My MC1's personal obstacle is that she desperately fears that at some point in her life, she is going to be captured by my MC2. It's happened before, and she barely survived it. Like a motivation, the personal obstacle taints everything she does. Because of it, she is always cautious--afraid to be caught.
INSERT A LITTLE OF YOURSELF INTO YOUR CHARACTER - BUT DON'T INSERT YOURSELF INTO THE STORY
This is where a lot of Mary Sue's get born. There is a difference between inserting a little of yourself into your characters - and becoming a character in your story. NONE of your characters should be the souped-up version of you. If you want to transfer one or two traits - that's fine. For instance, Another MC1 of mine, loves the smell of coffee, but refuses to drink it. (Until recently, I was the same way). There's no fault in including a little of yourself in your characters, as long as your characters don't become a stand-in for you.
BALANCE
Every character should have both flaws, and desirable traits. It should be an equal balance between the two. This goes for both PHYSICAL, and EMOTIONAL traits.
NO BLACK-HATS, NO WHITE-KNIGHTS
No one is 100% good, no one is 100% evil. It doesn't happen. Good people can make bad choices, and bad people can do nice things. Accept it. Remember it.
COSTUMES
What your character wears relies on more than just fashion. Don't dress up every character in your novel in the ideal cool-character clothes. It won't work. Costumes should be based on:
a) Practicality: Zombie-fighting heroine's aren't going to be dressing in evening gowns.
b) Availability: Post-Apocalyptic hero's aren't going to be wearing the latest Abercrombie and Fitch designs.
c) Personality: You wouldn't dress up your hyperactive and optimistic character in all black.
d) Emotional State: A crazy person isn't going to be as well-groomed as a well adjusted kid from the suberbs.
e) Relationship State: A girl on the prowl for a date isn't going to dress the same as a girl in a steady-relationship.
EVERY CHARACTER HAS A SKELETON IN THEIR CLOSET
Every character has a skeleton in their closet - and at some point, you're going to let it out. Quite literally, every character has a secret, big or small, something in their past, or something they know, that they'd prefer if it didn't get out. Eventually, you should get around to letting it slip.
NAMES
Names should be short. Avoid long ones when you can, but if you must use them, have a nickname prepared. Avoid gender-neutral names (Terry, Sam, Billy) unless it has some relevance to the story. Avoid first names or last names that could be mistaken for first names/last names (Thomas). Avoid names that have the same letter or sound at the beginning of their first and last names. (It just sounds funny). Be unique - but not too unique. If there's more than one way to pronounce it.. go back to the drawing board. Avoid names ending with "s", otherwise you run into problems. (Thomas's / Thomas' / Thomases?) You get the point. Don't try to be overly cute (Randy Cummings) Sadly I went to high school with that guy... and though obvious: Don't use the same name twice. If you're going to use names of family members or friends, be aware that they may take it personally when your character of the same name is made out into a villain, or killed in some gory way.
BE AWARE OF YOUR CHARACTER'S VOICE
Be aware of your character's voice. Does your character have a pet phrase? Do they speak in verbose paragraphs or clipped sentences? Do they speak slow or fast? Do they use slang? Do they have an attitude? Humor? Do they have a toxic nature? Do they sound educated, or like a teenager?
KNOW YOUR CHARACTER'S PHYSICAL APPEARANCE
Know your character's physical appearance. Find a photograph that looks like what you want your character to look like - and keep it handy for when you want to describe them. This also keeps you from accidentally changing details about your character because you forgot what you'd already written.
PSYCHOLOGICAL MAKEUP
Know the emotional and mental state of your character. How do they think? What fears do they have? Phobias? Quirks? Someone emotionally unstable may act rash in their behavior and do things they normally wouldn't do!
CULTURAL INFLUENCES
Know the culture they grew up in, and how it has effected them. If your character was raised very recycle-friendly, they probably wouldn't go around needlessly wasting paper products and might use a canvas bag to haul groceries rather than plastic.
MORAL COMPASS
Know their morals, and how far they would cross the moral line. Do they find murder acceptable under "certain circumstances?" If they were forced to, would they resort to cannibalism to stay alive?
SOCIAL STATUS
Social Status: be aware of their social status.. are they middle class? Poverty stricken? Rich and famous? Depending on their social status, other characters may treat them differently (or they may treat other characters differently!)
REMEMBER THAT SECONDARY CHARACTERS ARE MAIN CHARACTERS OUT OF FOCUS
They have their own stories - and everything that applies to the protagonist/antagonist, also applies to them. Just because they're out of focus, doesn't mean they have to be 2-dimensional. (you never know when you may give them their own story later!)
EVERY CHARACTER MUST CHANGE
The characters you start with... shouldn't be the characters you end with. Each character should change with each thing that happens to them in the story. By the end of the story - they should be a different person than how they started.
CHARACTERS ARE NEVER RANDOM
If it seems random, it's because you don't know why they're doing it. Find a reason. If you have them do something "random" for no other reason than to be random... your readers will see the author standing off to the side throwing things into the story because they ran out of things to write about. Believe me, they'll notice.
ALL CHARACTERS SHOULD BE DISTINCT AND UNFORGETTABLE
If the reader doesn't remember the character's name to the end of the book - you did something wrong.
IF YOUR CHARACTER IS "GOOD/EVIL"
Make sure they have some, if not all, of these traits.
a. Have a distinct voice and attitude.
b. Should be likeable, even if that means they are a bit quirky.
c. Should have an interesting career or skill set. (or crime)
d. Should be likeable if good, or at least sympathize-able if bad.
e. Should be flawed or vulnerable, both physically and emotionally. (and even mentally)
f. Should be able to connect to the readers on a very human level.
g. Should be capable of humor or irony
h. Should be capable of fear, but not enduring cowardice.
i. Should be physically appealing - but not perfect. (Or, physically fascinating, even if repulsive)
j. Should be alive at the end of the story (unless a) self sacrificing, or b) ill)
k. Good, but not angelic / wicked, but not demonic (unless an actual demon/angel)
YOUR CHARACTER SHOULD HAVE A GOAL
This goal should be substantial in content, difficult to attain, legal or at least honorable, must be a goal that your readers either sympathize with, or at least understand, and of course, contested by any number of forces.
Plot & Structure
Oh plot - how we hate thee. Plots are sometimes the hardest part of writing. They require a lot of planning and structure to get right (unless you're amazingly lucky). Let's look at some important things to remember about your plot--things you want to make sure you haven't left out.
HAVE A THEME
Your plot should have an over-all arching theme. For example, your overall "theme" might be "Love Conquers All". Having a theme helps to keep your plot together - so even if your current chapter is only used to character-build, the underlying theme will help tie it in with the rest of the story.
MOTIVATION, GOALS, & OBSTACLES
The motivation, goals, and personal obstacles of your characters should taint everything they do - and therefore, the plot as well.
EVERY SCENE MUST SERVE A PURPOSE
This is one of the big ones. Every scene must serve a purpose, be it to further character development, further the main plotline, or advance a relationship. If your characters are just sitting around chit-chatting for no other reason than you needed a time filler - you're doing something wrong.
THE KEY TRAITS
Every plot should:
A) Appeal to the intellect: Give the reader something that they will use in their life, share information, have substance, have a focus, be logical.
B) Appeal to the heart: Have a sense of connection with the reader, be written in an engaging way, have humor, be simple, be entertaining, be fast-paced, be full of imagery, be creative, and be exciting.
C) Appeal to the soul: Provide comfort, happiness, truth (or at least fairness), provoke people to think or act, be memorable, leave the reader with a sense of WOW, and include some sense of transcendence (heroism, justice, beauty, honor).
The more of these traits you have - the better.
PLOT STRUCTURE
The general plot structure goes thus:
1. Story begins. We are introduced to the Main Characters.
2. Complication Arises. Things don't go the way the Main Characters want them to, or start to take a downward spiral.
3. Emotional Turning Point: Something happens to change the Main Character's views. They have an epiphany, or they make a hard decision.
4. Climax. The worst thing that could possibly happen, does. (see your character's personal obstacle for ideas!)
5. Resolution. All subplots get tied up, whatever went horribly wrong will be turned right, and the story ends.
That isn't to say that you should only have five chapters, it just means, this is the general idea of how your story should go - you can use as many scenes as you need to accomplish it.
PLOT CHECKLIST
[ ] Substantial tension at every turn?
[ ] Varied scene pace?
[ ] Action either rising to a confrontation, or falling from one?
[ ] Utter absence of boring, static scenes?
[ ] Singularity of the central story line? (one main plot?)
[ ] Subplots that support the central story line?
[ ] Is the ending the final climactic struggle between the characters?
[ ] Is the climax the most powerful scene in the story?
[ ] Does resolution offer redemption to the protagonist? Redemption should always be offered - let the character decide if they take it.
[ ] Is there recognition that every element in the story pointed toward the end?
[ ] Were lessons learned for both the characters and the readers?
[ ] Did the protagonist confront the antagonist?
[ ] Was the conflict resolved in the protagonist's favor?
[ ] Did you avoid "coincidences" and "divine intervention"?
[ ] Did you avoid more than one flashback? (It'd be better if you had none).
[ ] Does the plot make sense?
[ ] Are we left with a sense of wonder?
World Building
I'm not going to get too much into world building - it's a vast topic. But I do have a word of advice: To create realistic worlds, make them familiar, but different. You don't want to change everything about them to make them completely different from our own - or your readers won't believe that it's possible. Keep some elements familiar, and then throw in some differences that make it clear that your characters aren't living in the same world as we are. Example: An urban New York like setting... except it has a caste system, OR an underground city, but your main character still has to go to public school. Throwing in both new and familiar elements is what makes your story believable, and interesting to read. Your reader needs to be able to relate to it somehow.
Point Of View (POV)
Now, there are several points of view. Some you may be more comfortable with than others. Let's explore each, and their advantages/disadvantages.
1ST PERSON - "I am doing."
In first person point of view, the story is told from the view of the protagonist. The advantages of using first person are:
1. It feels natural. When people normally talk (or think) we have a tendency to say "I..." so it's easy for us to read this format, and not notice it.
2. We only have to deal with one mind. Hopping in and out of characters' heads can be confusing- to the reader, and the author.
3. We can create a very distinctive internal voice - without having to worry too much that all our characters "sound" the same.
4. The narrator can be unreliable. You can use this POV to trick your readers, because they know only what your protagonist knows.
The disadvantages of course, are:
1. We are limited to one person's viewpoint. This can make it difficult to understand what other characters are thinking, or understand their motives.
2. The narrator must always be on stage (or observing it). Every scene will have the protagonist in it. You can't have them leave the room... or the "camera" goes with them.
3. Can't visit other character's heads. We don't now what they're thinking, or what they know.
2ND PERSON - "You are doing."
Never use 2nd person. It's eccentric and quirky, and almost never taken seriously. Forget it exists. It offends readers because they feel like you're "telling them what to do". No one like's that.
3RD PERSON UNLIMITED OMNISCIENCE - "He is doing."
This is a very commonly used viewpoint, but can be hard to master. Advantages:
1. Author can be in any character's mind, at any time.
2. We see lots of different POV's, which offers more chances to enrich the novel with contrasting characters the reader can identify with.
3. It allows the author and the reader to take a breath of fresh air during tense moments by switching POV.
4. You can broaden your novel's scope to different settings and conflicting POV's - even to characters that have never met.
Now the problems...
1. You can easily confuse yourself and your reader unless every voice is distinctive.
2. It can easily diffuse the flow and impact of the story by switching too often.
3. It is very easy to get lazy and begin narrating as the author instead of the characters.
3RD PERSON LIMITED OMNISCIENCE - "He is doing."
This POV is slightly different from the other 3rd person POV. In this POV, the author enters the minds of a very limited cast of characters (Protagonist and the Poker mostly). It has all the advantages of the 3rd person unlimited omniscience POV, but also has the ability to concentrate on the story by keeping major characters and strategic minor characters in the lime-light. It has no disadvantages.
HOW TO DECIDE YOUR POV
The choice is really up to you when it comes to deciding your POV. My best advice, is tell the story from the POV that tells it best. If you have characters that won't meet until midway through the story (or at the end) then you'll probably want to go with 3rd person limited omniscience. If you have one character that's going to be present in every scene and you want to follow them around - go for 1st person. I personally recommend that you stick to 1 POV (even if you can switch characters) unless absolutely necessary. The less character-hopping you do, the easier your story is to follow, and the less work you have to do making sure each of your characters sounds different.
THE LAST POV WORDS OF ADVICE
1. Don't head-hop. Tell the story from one character's POV per scene. If you hop back and forth constantly it just gets tiring.
2. Never follow the antagonist. If you follow the antagonist you're going to give away all the surprise elements of the story - or worse, your readers will fall in love with the antagonist and start rooting for them - and be disappointed with your protagonists wins in the end.
Where To Start
Every story has to start somewhere. Make sure yours starts with ACTION. Now, that doesn't mean you have to hop into the middle of a car chase... you could--or you can have the character drop something.. or bump into another character.. or, begin with dialogue. Do not start your story with description, a flashback (Read more about Prologues below), or yuck.. back-telling. Back-telling is when you write a story like you're trying to update your best friend over the phone on something that just happened: "Two days ago this happened, and then this, and then an hour ago I did this.. and I said that.. " you get the idea. The story begins with the first word, and you better make sure that from that point forward, everything said has some impact on the story. Also, don't start your story with poems/lyrics.. believe me when I say that no one thinks you are being clever - and no one ever reads them. EVER. And last but not least, don't start with the weather. You can describe it later, but give it a paragraph or two.
PROLOGUES / EPILOGUES
First thing's first, don't do an epilogue. If your story doesn't wrap up in a neat little bow - you're doing something wrong, don't use an epilogue as an excuse to add more - no one ever reads them anyway. Second, Prologues. I've heard a lot of negative things about prologues.... but before I get into that, let me explain what a prologue SHOULD BE. A prologue is a chapter of your story that sits disconnected from the rest of your story (usually because it happened long before your story - or because whatever happened during the prologue had a direct impact on your story... but doesn't include any of the main characters). It should be relevant to your plot, and without it, the story shouldn't hold up. If your prologue doesn't fall into that category.. throw it away. We don't need dream sequences, or flashbacks about when your protagonist was a young child and their father left... A PROLOGUE SHOULD NOT BE A FLASHBACK FOR THE MAIN CHARACTER. I can't repeat that enough. Which leads us to...
FLASHBACKS
You should almost never have one. Ever (and certainly don't start your story with one). Instead, let your characters reveal the information that would have been revealed in the flashback, in their own time and way. Dialogue is good for this. If you aren't sure whether you should have a flashback or not : ask yourself this question: "What information am I trying to show with the flashback?" If it's purely musing or sentimental reasons - delete it. If it's a phrase or short conversation that happened at an earlier point in time - try having your character "think" the phrase to themselves and discuss it over in their heads - or have them bring it up with another character. If the "clue" or "information" you're trying to present is a physical one (like a gesture someone did, or how someone was behaving), you can also have your character think it, or discuss it with another character - but if you can't for some reason (the character isn't horribly social) then yes, a flashback would be appropriate - but keep it short. The flashback should only be as long as is needed to impart the information you are trying to share - no longer. Flashbacks are very jarring to your reader because it pulls them out of your story, thrusts them into another scene, and then pulls them back and expects them to continue on as if it hadn't happened. Do not use a flashback because you are too lazy to try another option.
Chapters & Paragraphs
Stick to the rule of one. Each chapter should be 1 scene. (or part of a scene) if you change locations or time, start a new chapter. There is no rule on how long a chapter should be... it can be 1 paragraph, or it can be 30 pages. For paragraphs, the same applies. Each paragraph should have 1 central idea behind it. It can be long, short, or even 1 line, as long as your central idea hasn't changed. (though I'd recommend breaking up long paragraphs for ease of reading). New paragraphs should be forced every time a) there is a change in speaker, or b) a change in actor. This is especially important where there's dialogue (to keep your reader clear about who is speaking).
Narrative - That stuff that isn't dialogue.
Narrative - the bane of all writers. Why? Because it's the actual writing part. I've compiled some tips of things to remember about narrative, and things to look for.
1. When settings a scene, remember that it includes location, time, atmosphere, details, and impressions. Don't make the mistake of starting your scene at the side of the road in a forest... and then not clue your reader in that it's foggy, 3AM, and in the middle of no-where. Believe me, it makes a huge difference.
2. Use your five / six senses. Sight, Sound, Taste, Touch, Smell, annnnnnnndddddd feelings. Use them as often as you can without sounding ridiculous.
3. Don't forget body language. It says a lot.
4. Emotions... make them obvious, and share them when they change.
5. Show, don't tell when describing. The difference: Telling is like when you're telling a campfire to someone: "She opened the door, and out popped a monster!" Showing, requires you to "see" the story in your head, and then describe it in such a way that your readers can see it too. "She turned the lock, wincing at the sudden click, and eased the door open. Her muscles tense, she waited to see what was on the other side of the door..." blah blah blah. you get the idea. (forgive how crappy that example was).
6. Only describe what will further your plot in some way, or helps the reader to understand your characters. We don't care that the stop sign was red. We do care that there was blood smeared across it. Limit your descriptions to relevant information.
7. If you're going to describe something in detail, describe it as soon as it's noticed by your narrator. Don't wait a paragraph.
8. Description should always reflect the opinion of the character seeing it. A person who likes a Chihuahua might describe it differently than a person who hates them.
9. Don't describe the same thing in the same way more than once. It's fine if you mention she has brunette hair... but don't refer to it as "her brunette hair" every time you have to mention it. Think up something new.
10. DO Describe: Scenery, location changes, and anything the reader doesn't inherently understand going into the story. Leave nothing to interpretation - you might not like how people interpret it.
11. Limit descriptions to three characteristics at a time. Why? Because that's about as much as people can handle having dumped on them before they just start skimming. If you need more than three characteristics.. wait till the next time an opportunity pops up.
12. Let your characters describe themselves - without pointing a finger. Have your character make a comment about themselves, or make it a point to notice something about them selves, without having them (or you) start in with "she had brunette hair, and was 5'4". She had blue eyes, and had a green rubberband in her hair...". Keep character descriptions limited to a) facts relevant to the story, or b) general impressions. You don't have to say your character is 5'4" and 120 lbs. They could be described as petite. If your characters are going to describe someone else - always do it in relative terms... "He was half a head taller than me..." These kind of self-comparisons are also good for showing contrast between your characters, and filling in details you left out earlier. "His eyes weren't blue, like mine, but the color of rich coffee..." you get the idea.
13. Narrative should always tell the truth. There is one exception: in first person POV your narrator is your character, so you can use them to lie. They can only tell the truth 'as they know it'.
14. When describing a scene, remember to ask yourself these questions: How does my character feel right now? How do they feel about this place? What would they like to do? What will they do? How can I show these with my description and environment?
15. Cause & Effect: every action has a reaction, and every reaction, causes an action. When writing your narrative, remember to keep your actions and reactions in the correct order. It should always be Action->Reaction. You can't have a character react to something that hasn't happened yet (even if it's in the same sentence).
16. Don't forget the formula for how people react to an action: Action->Character's Knee-Jerk Reaction->Physical Sensation (if there is one)->Emotional Response->Voluntary Reaction->New Action. etc.
17. Never stop your story to describe something. Description should add to your story - not shove it aside.
18. Incorporate imagery into actions. If your character does something, tell us about it.. don't just say "he went to the store".
19. Try to see the scene through your character's eyes - leave out the author's point of view.. you aren't part of the story.
20. Use lots of tiny, but telling details. If a character is nervous, don't just say they're nervous... do they fidget? Do they pick at their nails? Does the pace of their speech increase? Show us with details.
21. Remember to use action-bearing verbs and non-verbs: words that describe, but also indicate emotion. If your character is angry, you might have them "thrust" something away, rather than "push" it away.
22. When describing people, remember to describe them in the way most people notice a person: top to bottom. If it's sexual, bottom to top, and if they're dangerous, hands to top, to bottom.
23. If it feels like your character is always "doing" something, create action without actually doing it. Use your description to infer that something has taken place rather than giving a blow-by-blow account.
24. All narration should be absent of philosophizing, preaching, and musing.
DIALOGUE
Finally, dialogue. Here's some things you should remember and look for:
1. Dialogue can lie. Where as narrative is almost always truthful - characters can lie. Don't be afraid to let them.
2. All dialogue should be laced with conflict. (more about that below).
3. Dialogue should consist of speech, AND body language. 90% of a conversation isn't spoke aloud.
4. Kill all dialogue tags unless you have no other choice. Dialogue should be distinct enough, or supported by strong narrative enough that you should almost never have to explain who is speaking by adding a dialogue tag. If you have to use a dialogue tag, use something invisible: "said", "asked".
5. Don't speechify. Monologues are bad - and no one in their right mind is gunna sit around and listen to you do it.
6. Avoid chit-chat. Unless you're doing it to make a point (like show nervousness) Don't chit-chat. Your character's aren't going to talk about the weather, or their cousins coming to town unless it's relevant to the story.
7. Avoid clutter. Don't say have your character say anything they don't have to. Use as little words as possible to get their point across and still stay within character.
8. Silence can sometimes be dialogue. Don't be afraid to have your character not respond to a question - or not finish their sentences. People do it all the time.
CONFLICT IN DIALOGUE
I said I'd explain, so here I am. Here are some ways to show conflict in dialogue.
1. Overt Aggressiveness: action or language that inflicts or threatens some form of abuse.
2. Passive Aggressiveness: hostility in which a seemingly submissive character can wreak havoc on a dominant one via implied threats.
3. Provocation: when one party taunts or dares another.
4. Undercurrents: when conflict remains beneath the surface of the conversation. Everyone knows they're arguing - but their words don't state it - their actions or mannerisms do.
5. Ambiguity: the reader and characters may not be able to decide if conflict is actually taking place beneath the surface - but it's hinted at. Only the author knows.
6.Subliminal conflict: the characters engage in what they think is innocent banter, but readers know that disaster looms right around the bend.
7. Word choice: clipped words with aggressive sound choices. (frack! is a good example.. it isn't a swear word, but it sounds like one).
8. Sentence length: abruptness.
9. Paragraph length: short.
10. Rhythm: rearranging words to suggest conflict, especially if you create a snap at the end of the sentence or paragraph: "When I talk, you listen."
11. Repetition: angry people often repeat themselves. Repeat key phrases to add emphasis, but don't do it too often.
12. Change the language to the affirmative: instead of "I'm not kidding" use "I'm serious."
13. Imperative: Add emphasis to the most neutral of statements, and increase the potential for conflict. "I don't think you should tell her the truth" vs "Don't tell her the truth. Lie. Lie your tail off."
14. Aggressive or defensive body language.
GENDER SPECIFIC
Remember to keep your narrative and dialogue gender specific to your character. You want each of your characters to sound unique - not the same. Here are some gender-specific tips:
-Males are usually direct and to the point in conversations. A conversation to them is a means to an end, be that information, or something else entirely. Their emotions and short-comings are usually well guarded. They will not admit to being at fault if they can avoid it. Men take everything at face-value. They don't look for subtext, they don't use subtext. They are "simple", and usually lie only if it a) helps to preserve their status, or b) it gets them a girl. Men will take any sort of "confidence" sharing (secrets or private conversations) as a conversation - nothing more.
-Women are usually very indirect in their approach to conversation. They dance around the real topics at hand, and instead, slowly meander their way around the point until it either becomes obvious, or they are asked about it. They like to over-discuss everything, and are very emotional creatures. They will admit to fault if it will gain them a sympathetic ear. They are manipulative as a whole, and will "bend" the truth in order to turn a conversation their way. Women take any sort of secret-sharing or personal one-on-one conversation as the first step in gaining rapport. They become attached to the people they have conversations with almost instantly.
Grammar & Punctuation
Active /Passive Sentences- An active sentence follows this construction: who / did what / to what. Example: I / ate / an apple. A passive sentence, has the "who" and "To what" switched: An apple / was eaten / by me. Passive sentences aren't bad - but they are wordy, and because of this it is almost always preferable to weed them out when you can. The exceptions are:
1. Use a passive sentence to emphasize an object.
2. Use a passive sentence to de-emphasize an unknown subject/actor.
3. If your readers don't need to know who is responsible for an action. (or to avoid giving away a clue!)
4. Sometimes, the passive version of a sentence, is the only one that makes sense - or just plain sounds better. Example from my own writing: "This was my last day, and had it been any other day, I'd have been arrested." Try making that active and not having it sound horribly wrong. I tried. "This was my last day, and had it been any other day, they would have arrested me." Just doesn't have the same ring to it.
Don't be afraid to keep the one's you need, and don't be afraid to prune out the ones you don't.
Fragments
Fragments are incomplete sentences. A complete sentence, is an entire thought. A fragment, is an unfinished thought. Examples: (Sentence) "I ran home to see my favorite cow." (Fragment) "Named Bessy." Yah, that doesn't make much sense. Usually if you have a fragment, it's because you either a) forgot some words, or b) screwed up your punctuation. It's all right to have fragments in your dialogue. Dialogue is immune to most rules (because no one ever speaks 100% grammatically correct).
Run-Ons
Run-on sentences are not necessarily long sentences (thought they can be). Run-on sentences are two or more incorrectly joined independent clauses. (Like if you took five separate sentences, took out the periods, and threw in a few "and" 's.) Learn to separate your ideas into their own sentences.
Example of a run-on: I went to the store and I bought some milk and I carried it home and I put it in the fridge.
Comma Splices
Comma splices are run-on sentences with a comma where the two independent clauses run together.
Example of a comma splice: I went to the store, I bought some milk, I carried it home, I put it in the fridge.
(doesn't work any better than the run-on does it?)
Coordinating Conjunctions (Or as I like to call them, connector-words)
Coordinating Conjunctions (connector-words), are words such as: for, and, nor, but, or, yet, so
The general rule is: You should never start a sentences with a connector-word. They're meant to connect sentences, not start them. If you feel the need to use one, you should probably be combining your sentences with the one in front of it, or trading it for a semi-colon and a "though". Example:
"I like cows. But I hate pigs." is wrong.
"I like cows, but I hate pigs." is correct
"I like cows; I hate pigs, though." is also correct. <-try to use this one only in case of an emergency.. usually combining your sentences works fine.
Correlative Conjunctions
Correlative conjunctions are: either/or, neither/nor, not only/but also, both/and.
If you use them, make sure you use them properly (see above), and don't forget to have both parts.
Semi-colons and Conjunctive adverbs
furthermore, therefore, for example, however
They tend to sound a little stuffy, but to use them correctly they should be placed with a semi-colon at the front, and a comma at the rear:
I like cows; therefore, I like Bessy the cow.
The Period
1. Ends a complete sentence.
2. Is used after a command.
3. Is not to be used after individual letters in an acronym.
4. Is used after initials.
5. Is used after Roman Numerals.
6. Is used after letters or numbers in an outline <-.
7. Is always used inside quotation marks.
The Question Mark
1. Is used after a question.
2. Is used inside of quotation marks if it's part of the quote or dialogue.
3. Is used outside of quotation marks if it's not part of a quote or dialogue.
Exclamation Mark
1. Use sparingly. A good writer can write an exclamatory sentence without having to use a single exclamation mark.
2. Use only after an exclamatory sentence.
3. Never use more than one.
4. Never use with any other form of punctuation. (?!?... none of that)
The Comma
1. Use after introductory phrases.
2. Use after interrupting words or expressions.
3. Use to set off words of direct address.
4. Use with Names and Titles.
5. Use to set off words in apposition (words that give additional information about the preceding or following word or expression).
6. Use to set off nonessential clauses (the clause can be deleted without changing hte meaning of the sentence).
7. Use to separate items in a series.
8. Use to separate parts of a compound sentence (before the coordinating conjunction).
9. Use to set off direct quotation.
10. Use to separate parts of an address.
11. Use to clarify any potentially confusing sentences.
12. Use with numbers. (1,000)
The Semi-Colon
1. Use between closely related independent clauses.
2. Use between main clauses when the coordinating conjunction has been left out.
3. Use to join independent clauses when one or both clauses contains a comma.
The Colon
1. Use before a list.
2. Use before a long quotation (especially formal).
3. Use before part of a sentence that explains what has just been stated.
4. Use before a definition.
Quotation Marks
1. Use to set off a speaker's exact words. (Dialogue)
Single Quotation Marks
1. Use to set off quoted material within a quotation.
2. Use to emphasize a title.
Hyphen
The hyphen is one (-).
1. Use it to show a break at the end of a line.
2. Use it to show a sudden interruption of speech at the end of a quote.
3. Use in certain compound-nouns, fractions, and compound numbers.
En Dash
The en dash is two (--).
1. Use the en dash to show a range between values.
Em Dash
The em dash is three (---).
1. Use the em dash to show a sudden change in thought.
2. Use the em dash before the summary of a sentence.
Hyphen / En Dash / Em Dash
In order of size, the hyphen is the smallest of the dashes, then the en dash, then the em dash. Beware the en dash and em dash. In some writing software, the en dash is omitted, and two --'s become the em dash. Make sure you know what your program uses. It is also acceptable to use a ( -- ) (space, en dash, space) in place of an em dash in most countries (but not australia or canada).
Elipses
"..."
1. Use to show deleted words or sentences.
2. Use to show an extended pause or trailing off.
Contactions
don't, won't, shouldn't, you get the idea. You can use them however way you want. Generally I write my first draft completely void of contractions (do not, will not, should not), and then when I get around to doing the second draft, I read for the ones that stick out, and replace those with the contractions.
Be On The Lookout For Redundant Phrases
"honest truth", "past experience", "fatally killed", "partial stop", "null and void" etc. The more you think about them, the more absurd they get.
Be on the lookout for Buzzwords
"nice", "central", "major", "good", "excellent", "quite", "very", "basically", "really", "field", "case", "situation", "character", "kind", "scope", "sort", "type", "thing", "element", "area", "aspect", "stuff", "factor", "nature", "quality". They're commonly used (and abused) words that aren't necessary to the meaning of a sentence. They cause your sentences to be wordy - and boring. Cut them out if you can.
Other Words To Watch Out For
(this is my own personal list)
"of course" - Means DUH.
"ly ", "ize", "tion", "sion", "ment", "ance" - at the end of a word, especially between "the" and "of". Usually the sentence can be reworded stronger.
"is", "are", "was", "were", "be", "been", "being" - followed by a word ending in -ed. Could denote a passive sentence.
"make", "made", "involve", "involved", "provide", "provided", "that", "just", "really", "very", "quite", "sort of", "walk", "ran", "run", "look", "saw", "heard", "thought", "seem", "seemed", "you", "ing ", "suddenly", "instantly", "briefly", "for a moment", "after a moment", "as", "like", "good", "bad", "went", "got", "came", "do", "get", "nice", "then", "started to", "begin", "began to" "start to" - mostly just words that denote sloppy or weak writing - they could be better.
Italics / Bold / Underline/ Parenthesis / Brackets
The only one of these that should ever be used, is italics. Italics are used in novel-writing to emphasize a phrase or word, especially in dialogue, or when showing sarcasm. It is also used often when showing something the character is reading, or has written, or when the character "thinks" something.
Lookout for redundant phrases
"repeat again", "red in color", "small in size", "few in number", "complete stop", "continue to remain" etc.
Expletive Constructions
"It is", "there is", "there are", "there were" (ouch I do this a lot) They only delay the point of a sentence. Example: "It is necessary for all children to be in bed." could be: "All children should be in bed." OR "There were three cats in the barn." could be: "Three cats are in the barn." It isn't always possible to get rid of these - they are sometimes needed, but a lot of the times, you can prune them, so watch for them.
Be Concise
When you write a sentence, try to write it in the clearest and shortest way possible in order to get your point across. You can always add more words later, but it's harder to cut them out. Also, when choosing your words, choose carefully: choose the most precise word possible - not the next best thing. Example: "green fruit" isn't nearly as precise as "lime-green Granny Smith".
Tips & Things to Look Out For
1. -ly adverbs. If you see them, ask yourself this question: "to _____ _____ is to...?" example: "to run quickly is to...?" answer? "sprint". If you can't apply that question, it probably isn't a problem. Just a nifty trick to help you weed out a few of those suckers!
2. -ing words. There's nothing wrong with -ing words, unless you use them too often. Try not to use more than one in a sentence (less if you can). Too many of them can make your writing dull.
3. Make sure your action is before your reaction!
4. White space is good. Don't be afraid to break up paragraphs and dialogue with some white space if your page is getting a little "wall of text" looking. It helps your reader stay focused.
5. As does not = And. It is better to have As at the beginning of a sentence, than in the middle. Example: (bad) "She hummed as she walked down the hall." (good) "She hummed and walked down the hall." or (good) "As she walked down the hall, she hummed."
6. One "And" per sentence. If a second is needed, use a comma or a "then" instead.
7. Beware using multiple words in a row that begin with the same letter. The same goes for sentences that begin with the same word, and paragraphs that begin with the same word or phrase.
8. Avoid cute quotation marks, or "winks". Example: She was "doctor".
9. Avoid brand-name revelations. It's fine that your character has a super neat car.. but we don't need to know it's make and model number.. how many miles to a gallon it gets.. or where it was manufactured. Thank you.
10. Avoid politically correct assumptions or observations. People are rarely politically correct. Your character doesn't have to be.
11. Avoid "of course" and "naturally" it's like saying "DUH."
12. Avoid static situations and lenghty descriptions. ACTION ACTION ACTION.
13. Avoid philosophizing, musing, wondering, any form of pontificating.
14. Avoid repeating anything. Ever.
15. Avoid anything too quirky. You may think it's cute, but if it makes you smile, it's probably making your audience roll their eyes.
16. NEVER USE ALL CAPS.
17. Avoid sentences that are longer than 25 words. It can happen - but usually if you have them, it's because your punctuation is off.
18. Avoid stupidity. If you hear someone in your house, you don't go running into the unlit basement without a weapon, and expect to come up all right.
19. Avoid "very", "rather", "quite", "really" they are filler words.
20. Don't use parenthesis.
21. Avoid repeats. Oh looks.. we had that one already.. hrm...
22. Read your sentences aloud. It helps you find flow problems, misspelled words, incorrect punctuation - you name it. Seriously, try it.
21. Beware of your negatives and positives. Try to write positive. Example: Dont use "I don't like pickles." use "May I have a tomato instead?" You may think it's not important, but the subconscious brain reads it and thinks "negative! negative! negative!" and starts setting up a defense.
22. The rule of one: The plot should have one main idea. Each chapter should be one scene. Each paragraph should have one concept. Each sentence should make one point. Keep it simple
23. Thesaurus': Useful, but don't abuse them. Make sure you know what the words you are picking actually mean. Don't use big words just to avoid using a repeat word.. it'll sound fake.
24. Check your readability stats! In many writing programs (for instance, Word) you can find your readability stats. Run it on paragraphs, or chapters (not the whole story). You want your scores to come out something like this: Words per sentence = 15 max. Characters per word = 4.5 max. Passive Sentences = 5% max. Flesch reading ease = 80% Minimum. Kincaid Level = 6 max. It'll help you ensure that you're writing clearly and concisely.
25. Murder your darlings (Hemingway) It may be a spectacular sentence, but if it does your story no good, get rid of it. If it makes you feel better, copy and paste it into a notepad file entitled "My Beloved Darlings" and treat it as a cemetery. Things go on the list, but they don't come off.
26. Start your story with a hook, and end each chapter with one.
27. Start at the beginning of your story - and write towards the end. Don't skip around, or you're liable to forget something.
28. Be personal. You want to connect to your readers on a very human, very real level. Let your characters show what they're made of!
29. Always offer redemption to your characters - let the characters choose to take it.
30. Research EVERYTHING. The internet is your best friend.
31. Watch your tense. All stories should be written in past tense. Why? It's the natural tense for storytelling. Present tense is just plain distracting.
32. Spell check...and then break out your dictionary and make sure.
33. Keep a close eye on your subplots and objects. Write them down as they're introduced into the story - and make sure you always know where they are. It'll suck if your character picks up a gun in one scene.. and then picks it up again 10 minutes later.
Writer's Block?
It's a fancy way of saying PROCRASTINATION. If you feel overwhelmed, and don't know where to pick up where you left off, do some writing exercises! Prompts are a fun way of getting your creative juices flowing. Also, don't be afraid to throw in something random! If you don't know what to do in your plot - throw in an argument. Believe me, your characters will get you out of that scene real quick.
Well, ladies and gentlemen, that's all for now. (OMG that was a lot of information). The tips and tricks I've listed here are things I've gleaned off many a writing how-to, personal experience, and the few writing books I own. If you're interested in some, I recommend:
The Complete Idiot's Guide to Grammar and Style - Laurie E. Rozakis, Ph. D.
The Complete Idiot's Guide to Writing A Novel - Tom Monteleone
The Writer's Little Helper - James V. Smith, Jr.