Showing posts with label backstory. Show all posts
Showing posts with label backstory. Show all posts

Monday, August 9, 2010

10 Top Novel Writing Mistakes

Tweet It!
Bookmark and Share
by C. Patrick Schulze

Listen to a PODCAST of this article.

I don't know about you, but I learned to write, and am still learning to write, the hard way. I made the novel writing mistakes and then figured out what I should have done. I'm certain it's the same for many, if not most, novel writers.

Regardless of how you learn, if you keep your eyes open for these top ten novel writing mistakes, your novel will have a stronger chance of acceptance.

Beyond the common errors in spelling, word use and punctuation, I feel the top ten novel writing mistakes are:

1. Weak Characterization
2. Ineffective Dialogue
3. Poor Plotting
4. Point of View Errors
5. Flat Writing
6. Too Much Backstory
7. Summarizing
8. Failing to Target Your Writing to Your Audience
9. Lists
10. Too Much Description

Let's look at each of these in a bit more detail, shall we?

Weak Characterization: It is imperative you serve your readers a healthy diet of characters with believable motivations, realistic actions and fully formed relationships. You reader needs to know why your major characters do what they do and why they feel the way they do. Read more about CHARACTERIZATION.

Ineffective Dialogue: Dialogue is one of the trickiest aspects to a novel. It must sound like people speaking to each other when, in fact, character conversations are nothing like conversations between people. Your novel's dialogue must be much more compact and plot focused, yet, you must retain the personal aspect of it. Read more about DIALOGUE.

Poor Plotting: Plot is the bread and butter of your novel, and a well structured plot is a blend of art, psychology and the craft of writing. An effective plot requires, pace, motivations, a believable storyline, character arcs and so much more. Read more about PLOT.

Point of View Errors: POV relates to which character sees the action that transpires within your plot. Irregular shifts in POV proves difficult to the reader, and maybe even worse, POV errors can creep into your novel with little trouble. The secret is to reserve each character's POV to a single chapter. Here's more on POV.

Flat Writing: Flat writing occurs when you input narrative or dialogue that has no meaning to the plot. It shows you've lost control over your story due to lack of a plan, lost interest or maybe something as simple as you're tired. When you find narrative or dialogue that doesn't move your story forward, it's time to edit it out.

Too Much Backstory: Backstory is anything that came before chapter one. It's history. The problem is backstory tends to stop the novel's momentum. More often than not, it's not necessary to the story and should be eliminated. If backstory is necessary, work it into your story in small nibbles rather than large bites of information and only after the major plot is developed. There's more on BACKSTORY here.

Summarization: This harkens back to the classic saw of "Show. Don't tell." In lieu of simply stating a fact in your narrative, develop this information by way of character actions and dialogue. For example, don't simply say your character is good at math. Have a scene where his math skills are put to the test and he excels. There's more on "SHOW, DON'T TELL," in this article.

Failing to Target Your Novel to Your Audience: Most writers, especially those new among us, often fail to come to grips with the fact your writing is a business venture. As a consequence, novels are often written without a focus on those who will eventually purchase your product. For example, if your story lends itself to the male market, you don't want too much emotional action. In contrast, if your market is the adult female, you'll not want too much in the way of blood and guts. Save that for your teenage male audience.

Lists: A common sign of a novice writer is his use of lists within their novel. A classic example of this is with the description of a meadow. The new writer will name all the flowers in the field. It's usually better to paint a verbal picture with only a few details and allow the reader's mind to fill in the blanks. In the example of a meadow, you might mention the wavering patches of red and violet as the wind sweeps over the ground in lieu of the list of flowers.

Too Much Description: In the same light as lists, the readers imagination is what makes your novel come to life. Too much description imposes your imagination upon the reader. With this in mind, don't tell him the cloud formation looks like an elephant, unless the elephant is necessary to the story. Instead, tell them the clouds created formations in the sky and allow them to "see" whatever they formations they wish. This will make the story much more personal, and thus enjoyable, to your reader.

Are there more common errors in novel writing? You bet. However, if you focus on these ten early in your writing career, you'll be well on your way to that elusive well-received novel.

Now, which of these errors do you commit and what have you done to fix them?

Until we meet again, know I wish for you only best-sellers.

C. Patrick Schulze
Author of the emerging novel, "Born to be Brothers"

Monday, July 19, 2010

The Three Dimensional Character in Novels

Tweet It!
Bookmark and Share

by C. Patrick Schulze

Listen to a PODCAST of this article.

Much is said about the mythical three dimensional character, yet there's a dearth of information about the concept. Sure, there's an overload of particulars on the subject, but it all seems a bit incomplete. Especially since I've received my manuscript back from the editor and she told me to add dimension to my hero.

So, I set out to find what it is that makes for a three dimensional character.

The wide breath of information on the subject follows this basic outline. One, your character must be believable. Two, your character must have flaws and, three, be relatable to your reader. Three dimensions, right? Though that's correct as far as it goes, I'd come to believe, something's missing from that formula.

Well, I think I've figured out what's missing. It's the levels, the depth, of their personality.

I've come to see it like this. The first dimension is that part of your character the world sees. It is their habits, their mannerisms, their dress, hairstyle and the like. It is those sensory clues he give the world.

The second dimension of your character is his backstory, his dark side, his past. What is it that compels your character to do the things he does? This backstory is what offers understanding of your character's persona, those parts of his life he hides from others.

Why does he hate woman, enjoy over-eating or fret over insignificant details? It's a character's backstory that gives him this part of his personality. It is this second dimension of "why" that draws empathy from your reader. And as we all know, empathy is what draws your reader into and empowers your novel.

The character's third dimension is comprised of his actions, behaviors and outlook on life. It's the reasons he makes the decisions he does. If truth be told, your character's moral fiber is defined by the actions he takes and his actions are defined by his outlook toward the world.

This outlook is the primary difference between your hero and villain. The hero suppresses his desire due to his outlook on life, what he considers right and wrong. In contrast, the villain fails to suppress those same urges as his concept of good and evil differs from the hero's.

It also seems to me these various levels of the three dimensional character need be unique and able to stand on their own. However, they should still coincide or mesh with each other. 
For an example as to how these three dimensions conjoin, imagine a character who exhibits an outward show of honesty. This is his first dimension, his noticeable appearance. He feels this way because his father used to take a belt to his backside when he lied as a child. This is his "why" or the second dimension to his personality. However, he lies to his wife when he has an affair. This is his third dimension, his actions.

The best authors are able to stir these three dimensions together to create a concoction that brews that elusive three dimensional character. In fact, the more I read, the more I'm convinced it is the art of characterization that lies at the heart of storytelling.

In my opinion, it you place more emphasis on your character's true three dimensions, your writing and your novel will rise to a new level.

Now, who among you have ever heard someone say your characters are not three dimensional and what did you do about it?

Until we speak again, know I wish for you only best-sellers.

C. Patrick Schulze
Author of the BACK-from-the-editors novel, "Born to be Brothers"