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Lengthy Paragraphs
When writing your novel or short story, it’s important to keep in mind how your reader may be affected by the length of your paragraphs. Long, drawn out paragraphs are tedious to read—more often than not, your reader will get discouraged when presented with never ending blocks of text, and put down your book, never to pick it up again. On the other-hand, too many short paragraphs may project a shallow story with little depth.Try to reach a happy medium with your paragraphs. Use variation. Write your paragraphs to a minimum of 1- to 15 lines in length. Keep in mind, the length of your sentences and your paragraphs help create a rhythm for your story.
Show Don’t Tell
How many times have we heard that phrase? Show, don’t tell. Since the beginning of one’s writing experience we’ve been taught, told, or scolded about “show, don’t tell” our stories. Most every writer I know has dealt with it a time or two. It is an artful creative process to show your story though your imagination. It is the difference between a published novel and one that sits on the shelf gathering dust.
Flashbacks
Avoid flashbacks if at all possible. A story should begin at the beginning and go to the end with few visits to the past. However, our characters do have a past, and their emotions tie into their past, happy or sad. Therefore, if the information is necessary for your reader to understand your story then go for it. But be careful. The best way to use a flashback is through dialogue, action and/or conflict. If you don’t want to put your reader to sleep, narrative is a big no-no. So make your flashback vivid with plenty of tension. “Stein on Writing” says it better than anyone. “Fiction should seem to be happening right now.” This is an important statement because a flashback can be obtrusive and stop the story dead. So before using that flashback, ask yourself if your story would read better without one.
“I have written a great many stories and I still don’t know how to go about it except to write it and take my chances..” Photo/artwork “the reading octopuses” by debaird (c) Marlene Cronkhite
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Marlene Cronkhite
Writing a short story is quite different than writing a novel. There is the time factor and word usage to take into consideration. It takes discipline to keep your short story brimming with exciting life experiences in as few words as possible. Here are five key steps in writing your short story.
1. THEME
The theme is your supporting structure in your short story. The theme is what you glue your plot, your characters, and your setting to. It is the foundation that holds your story together. The conflict and how it gets resolved wraps itself around the theme of your short story.
2. PLOT
The plot is the introduction and the series of events that happens throughout your short story. It is action and suspense. It is the romance and emotion. The plot involves some type of conflict that needs to be resolved. Your plot has a beginning, middle, and an ending. A good short story needs a hook in the beginning to draw your reader in and keep him turning the page. Then of course, always remember to save the best for last–the surprise twist ending to your short story to leave your reader satisfied.
3. CHARACTERS
It is important not to crowd your short story with too many characters. Use two, perhaps three characters, at the most. Most of your story will surround an important event that proves crucial in the life of your protagonist. Every word counts. Too much characterization and description can debase the affect of your short story.
4. STICK TO THE POINT
Stick to the theme of your story. Make sure you don’t overpopulate your short story with unnecessary detail. Follow the narrow path of your theme. If you must digress, make it short, otherwise you will lose track of your purpose and get bogged down with a smorgasbord of trivialities that you don’t want.
5. THE SENSES
Keep your short story alive and vibrant by using the five senses – sight, sound, smell, taste and touch. The five senses add depth to your short story. You will see your images more clearly. A character or a setting once flat now speaks to the reader and becomes real. Here are some examples from one of my writing lessons of a few years ago:
- As the old man pressed the canteen to his blistered lips, he savored the last drops of the precious liquid, and felt the wonderful wetness trickle down his parched throat. (Taste)
- She wondered if her eyes were not deceiving her as she caught a glimpse of a shiny, round object glimmering on the sidewalk. (Sight)
- The stench of human waste and cheap wine filtered through wet air as she pushed her cart past poor old souls taking refuge in the shelter of cardboard boxes. (Smell)
- Long buried pain began to surface as she recalled how she watched her beloved, Teddy, suffer till the end. (Feel)
- The train swayed gently and the click, clack of the rails rendered a soothing timbre, lulling Tyler into a deep, peaceful sleep. (sound)
Notice how each one of the above conditions drew you in and made you want to know more about the character or the setting. That’s the key to using the five senses.
The five steps should help you get started. Once you’ve written your short story, go back through and delete unnecessary words or paragraphs that do not contribute to the theme or plot. Short stories have rhythm—make every word count. Most of all have fun while you write your short story.
Marlene Cronkhite
Marlene Cronkhite | Create Your Badge
When you think about writing dialogue as simply giving a voice to the different characters living inside you, writing becomes an exciting journey and very rewarding. Here are a few thoughts on writing dialogue.
1. Characters
The characters we create come from somewhere inside us, in all that we are, and all that we know. When we create our characters from within, the act of writing dialogue becomes uniquely individual. Usually the characters lead the way and help “show” what they are doing. By this I mean their actions express how they feel and what they’re thinking. Another important aspect is to not force characters to tell each other matters that each one already knows, just so the reader will be clued in. This is an obvious trick that the reader is sure to pick up on.
2. Voice
In order to write good dialogue, you need to hear those characters speaking in your head and capture their voices in your story. Make their voices unique by making sure that they speak according to their backgrounds. Show how your characters react or feel by the using description of their voice quality and physical movements.
3. Tags
The use of “said” and “asked” are the only tags you need. The reader needs just enough information about who is speaking to be able to move ahead in your book. The tags should melt into the background of narrative, not depict the scene or your character’s feelings. Try to stay away from dialogue tags like: replied, voiced, expressed, vented, responded, cried, howled, bellowed, shouted, vocalized, asserted, declared, whispered, stated, uttered. These tags can botch up an otherwise wonderful, rich story. Make your character’s dialogue razor-sharp and you won’t even need tags.
4. Tension
You can easily create tension in dialogue when you create dynamic characters that are outspoken and driven. Tension, one of the most important factors in fiction writing, gives the reader a sense of urgency and keeps him turning the page.
5. Dialect
It’s probably best to avoid using dialect all together when writing dialogue. It is difficult to read and if it’s not done just right it may sound amateurish.
6. Quality
The “umm’s” and “ahhh’s” in dialogue and what he bought at the grocery store can be pretty boring stuff. Stay focused on your exciting plot/storyline. Keep your dialogue vibrant and alive so you don’t put your reader to sleep in a state of monotony.
7. Test
A good way to test your dialogue is to read it out loud.
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My writing buddy from Writer’s Village University wrote this poem and I couldn’t resist sharing the delicious words with you on my blog. Her name is Anna Delis from Australia. Enjoy! Marli
 What's in a Frappe? Frappé
A tall cold milky Frappé glass,
With a head beer would envy.
A straw stuck deep into its middle,
A tube to its bottom,
Waiting for me to use,
To draw up the cold milky coffee.
A cool taste, bitter sweet,
Filled with undissolved sugar.
I should have beaten it more,
But I like the crunchy taste,
The melting grains,
Bitterness broken,
Sweetness in action.
I suck on my straw again,
Getting my dose of wake up juice.
A legal oasis in this world of trouble,
A cool cold glass to latch on,
To anchor me
In this world of bitter sweet coffee.
By Anna Delis ©
 The Write Hook My guest today is David Hayes, author of The Bratwurst Kidnapping. David Hayes is a mystery writer, whose stories not only keeps you on the edge of your seat, but captivates you with wit and humor. I feel honored to have David as a guest on my blog today.
The other day David came across a blog article I wrote on June 9th, 2009, entitled Writing Your Novel – Five Golden Rules. One of the golden rule topics triggered a pet peeve of David’s.
David will tell you in his own words…
 The Bratwurst Kidnapping Let me see if I can put the meaning into a single sentence. There’s a human psychology at work here that we, as striving writers, should understand.
If you strive to achieve something more than your peers perceive you to be, they will work against you, succeeding either consciously or subconsciously.
I’ve been writing seriously for seven years. Most of us wear our egos on our sleeves. At first, we seek acceptance from those that are closest to us, family, friends, and peers. These are the people that know us as we are now, instead of what we want to become. I’ve had many humiliating experiences sharing my efforts with them.
The year before I had my novel, The Bratwurst Kidnapping , published, I was asked to do a reading of my novel at a meeting of lifelong friends. One quickly fell asleep, while another took pictures of him sleeping, so they could share the laugh all over again once the film was developed and distributed. Such a pall fell over the listeners that my voice actually broke during the reading.
I gave my two grown sons a signed copy of my published novel. I know from asking questions that neither read it. They don’t see Dad as a writer; they see him as what he was before.
In Robert Ringer’s Mario Puzo and Me interview, Mario Puzo, interesting enough, felt the same way. In Rule No. 1, Puzo states: “Never show your stuff to anybody. You can get inhibited. Be careful about who you show your work to, no matter what business you’re in. When you become inhibited, your creativity and genius get suffocated in the process.”
I say this is something every writer needs to know. Don’t seek acceptance of your work from anybody other than those who are seeking the same goal, going through the same doubts and frustrations. Writers Village University is the perfect place to do that.
David Hayes
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I’d like to thank David for his interesting perspective on a this topic. Perhaps others have thoughts on this subject; please jump in, I’d love to hear your comments.
Happy Writing,
Marli
 Writer's Block? Some of our greatest writers suffered from writer’s block. Before computers ever existed, writers like, Leo Tolstoy, Virginia Woolf, Ernest Hemingway, all had bouts with writer’s block. Some call it writer’s anxiety; many scientists say it doesn’t even exist. However, if you ask most writers they will admit there are times when the words just won’t come. Pinpointing the reasons is difficult, if not impossible. Here is a list of five tips that might help you break out of what is commonly known as writer’s block.
1. Get inspired
You may be in danger of uninspired writing. It sounds simplistic I know, but perhaps a change of scenery is in order. A simple drive down a country road may work wonders. If possible, go to the seashore and watch the surf break against the rocks— inhale the salt air— see the beauty. Get inspired with life around you. Whatever it takes, divert your mind away from the task at hand for about twenty-four hours. Then, go back to the drawing board and see if you are ready to write.
2. Still blocked?
Try writing in a different spot, at different times of the day. If weather permits, sit out on the patio, or the back lawn. Perhaps you are accustomed to using a word processor, if that’s the case, switch to a pen and write by hand.
3. What’s the editor in your head doing?
Some call it your overbearing inner critic. I call it too many rules asphyxiating creativity. If this is happening to you there are a couple things to do. First, make an effort to free-write. Creative Writing Prompts can get you started. Another trick is to choose one word, then think of other words that relate to that one word. It’s called clustering. I highly recommend, Writing the Natural Way, by Gabriele Lusser Rico
4. Give yourself permission to screw-up
Perhaps you’re blocked because you’ve painted yourself into a corner. This could mean you need more structure. If this happens, write out a basic plot outline of your story with about five key points. Keep it simple. Name your characters and make a list of each one. Don’t try to be perfect. Give yourself permission to write crap. You can clean it up later. Always keep in mind to have fun.
5. Join a writing group
It’s important to associate with other writers. Develop friendships in the writing community; communicate your feelings. Just about every writer has experienced writer’s block. If you are new to writing or a seasoned writer, Writer’s Village University is a good place to start a new writing journey.
Note: Of course, there are many ways to conquer writer’s block; these are just a few tips that seem to make sense. Please comment and let me know if you were helped, or if you have tips of your own you’d like to share.
To your writing success,
Marli
Five Golden Rules
1. Write five days a week
The key is consistency. Write 300 to 600 words a day, five days a week; more is better. Jot down ideas during moments away from writing.
2. Know Your Characters
Fiction writing is an art; your story, your characters must be created and molded out of your imagination. I use the analogy that fictionalized characters are similar to a portrait painted on canvas—the artist starts with a basic sketch then builds until he has a facsimile of a lifelike person. The writer builds three-dimensional characters with words. Once the characters are developed, other components in your novel, such as plot, setting, and motivation come into play.
3. Plot your Course Lightly
Some writers successfully follow a planned outline with no problem. This is a personal choice. For me, too much planning stifles creativity. No more than a general idea of the main points of the story is needed. Then develop a time-line indicating what each characters is doing at a specific time and place surrounding the plot—do not carve it in granite.
4. Stay Clear of Distractions
Make it a point not to discuss your novel with people who don’t care, or who don’t understand the concept of fiction writing. You may be drawn away from your prose by their negative energy if you tend to be vulnerable. A few other distractions that interfere with writing: Other projects, your job, writer’s block, a combination of any of these things can be a distraction and used as an excuse not to write. Don’t allow it. Always find time to write.
5. Turn off the Editor in your Head
The first draft is just that, a first draft. Write with one thing in mind, your story. Then when the first draft is finished, turn on your editor. But remember what Elmore Leonard said in his Ten Rules of Writing: If it sounds like writing, then rewrite it. He went on to say: I can’t allow what we learned in English composition to disrupt the sound and rhythm of the narrative.
Note: The five golden rules above are written primarily for myself. If it helps other writers that’s a good sign that I’m on the right track. Please feel free to comment.
My best, Marli
Note: Two hot authors.
Dayana Knight, author of Dark Paranormal Romance
 Picked up a pen at a very young age and kept going with it. Love all things paranormal and gothic. I have several published works including poetry, short stories, craft articles, and novels. I belong to EPIC, Romance Writers Association, and Florida Romance Writers, Inc. Dyana Knight, Paranormal Author
The Curse of the Marhime, by Dayana Knight
Bestial Cravings, by Dayana Knight
David Hayes, author of Mystery Intrigue
The Bratwurst Kidnapping, by David Hayes
The Bratwurst Kidnapping
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Since this is my first post, I thought I’d start with a subject that I’m most passionate about … fiction writing … why do I love it so much?
Marlene Cronkhite I love the Suspense
Creating a story with dynamic characters and a definite stream of uncertainty, danger, doubts, and cliffhangers, is the ultimate in fiction writing. I’ve found suspense can be very subtle, like a soft spoken comment, or it can be a condition with clear and present danger. Nathan Bransford, in his blog, describes three genres: Thrillers have action. Suspense has danger, but not necessarily action. Mysteries have mysteries, i.e., something you don’t know until the end. I’ve been known to use all three of these in one genre, which I call Mystery. But regardless of the genre, it is rewarding to know that no matter how repugnant the suspense, if you want the reader to focus on it, and it’s an important part of the story, then use it. One of my writing mentors at Writer’s Village University had it right when he said: if it has the potential to yank the reader’s brain out through his eyeballs, show it in depth. In other words, it’s a good thing.
Characters, the good the bad and the ugly
Molding and creating real life characters is the essential part of what makes a story come to life — I love them all, even the bad guys. It’s like creating the good, the bad, and the ugly, each character with his own persona; each with a tangible history, a cause and effect that motivate actions and dialogue. If I create a believable history for my characters, then they become real people and will usually grow on their own throughout the story. For more on character creation, Holly Lisle’s, Create a Character Clinic is a must have book for your shelf .
Setting the backdrop
I love a strong setting, one that can determine the plot, the mood, and the atmosphere. In some stories the setting is as important as the characters themselves. Monica Wood, in her book, Elements of Writing Fiction/Description, says it this way: One way to make a setting come alive is to describe one thing in relationship to something else. As an example, the size of a tree becomes more vivid if you describe a bird’s nest nestled in its branches. I love this idea…so simple, yet it works.
Plotting the plot
Although I spend a lot of time developing my character’s biography, especially the hero, I’ve found that the bad guy is the pivotal character in my mystery novel, and it’s the bad guy’s motive that is actually the force behind the story. Whether he is a murderer, or a swindler who exploits little old ladies, searchingf for his ruling passion usually pays off. One of the best books on plotting a mystery novel is James Frey’s, How To Write A Damn Good Mystery. The part I found the most helpful was The Plot Behind the Plot.
My Writing Friends
My friends in the writing arena at WVU are truly special. The courses, the groups, the feedback, the interaction and camaraderie, I feel blessed to be a part of it. My home group at WVU is called Hemingway Hall — I want to thank David, Ralph, Gin, Anna, Lisa, and Hugo, what a wonderful group of writers you are.
Charity Tahmaseb also comes to mind when I think of special writer friends; She may not even know it, but I consider Charity one of my best mentors. Charity, along with co-writer, Darcy Vance, are both very talented. They have a new Young Adult book out right now that’s sizzling! You just can’t pass up, The Geek Girl’s Guide to Cheerleading. It’s hot!
Authors on Writing
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