I finished reading How to Write a Damn Good Novel by James N. Frev. It gave me things to learn I frequently ignore. A few tips redefined a few things like what to explain and what to leave out. The book is about writing dramatic stories, not the literary I frequently write. My literary pieces have a strong dramatic storyline and a deep internal conflict. The lessons learned are invaluable in improving my writing.
The character must be fathomable. Explain their motivations, character attributes, and decision-making process. My writing process directly opposes this requirement. I establish a new thought pattern in my head to match the character I’m writing. That’s only possible because I’ve spent nearly a decade and a half mediating. Acting out physical traits isn’t something my diseased body is capable of. That mental model is as close as I can get. Thinking like your character makes the motivations, character attributes, and decision-making process apparent and self-explanatory. It should be second nature. Stuff that doesn’t feel wrong as that character. Everything except that particular action feels wrong. Putting that on paper isn’t tricky at all, except I never know how much to put down. This book helped a lot. Include everything required to understand the characters.
Each scene should be a story in its own right. The scenes should have all the pieces of a story. A beginning setting up the conflict. A middle of rising tension. Finally a build up to the conclusion. When a book has that it’s difficult to stop reading. A perfect example is Dark Matter by Blake Crouch. It followed that pattern. Each scene was a story in its own right.
There needs to be a connection of causality between scenes. Watch this, the best discussion on causality that appears in a feature film in my opinion. The events must require the events prior to lead up to them. A connects to B, then C. The web of causality must connect from one to the next. Again this is exemplified in Dark Matter. Of course, literary novels frequently forgo that rules. But getting things in line helps to justify those tangents literary is famous for.
Dialogue should also follow the structure of a story. No conflict in dialogue means it can be rewritten or scrapped. Standard conversations we have every day can easily be reduced to one summarizing sentence. We talk about this or that.
Sometimes things go down. You come away reeling and need to spew everything to someone you trust. Those are the sorts of conversations dialogue should be. I noticed that in my first novel. The lunchroom conversations were boring to read but the arguments were impactful. Leaving out the daily dribble of conversation helped my story beyond measure.
Reading How to Write a Damn Good Novel and Dark Matter in a basic requirement for any writer. The theory expressed in the book about writing is exemplified in Dark Matter. Read both and get back to me. Kidding.
Photo enhancement and editing by me.