Story Sensei

Camy here: Since so many people asked me to, I ran a series of blog posts with examples about when it was better to tell rather than show. This is a compilation of those blog posts. If I post additional examples, I'll just add them to this article. Also, remember, these are not hard and fast rules about when to show and when to tell. Please do not take these examples as such. Ultimately, it's up to you as the writer since it's YOUR manuscript. Utilize whatever is best for your writing voice, the rhythm and pacing you're aiming for, or the atmosphere you're trying to obtain. For examples of "telling," see this article. Telling isn’t always bad. In fact, sometimes it’s preferable. However, you ought to have a darn good reason to tell. One reason could be to telescope time . If you’re skipping from one place to another, or one time to another, that’s where telling is good. Say Joe has been arrested and then in the next scene, he’s talking to his jailmate. It...

This is continuing my series on things to look for in your first page. Click here for part seven. Reveal your voice When I have talked to editors and agents, they always tell me that the first thing they noticed about their clients/authors is the writer’s voice. Voice is what jumped out at them from the very first page. Voice is what captured them and compelled them to keep reading. If you’re not sure about your own writer’s voice, it’s really worth it to spend some time developing it. Voice is something that can be learned. I wrote a series of blog posts with some good exercises for developing your writer’s voice. I compiled them all into one blog article here: Developing Your Writer’s Voice Back to your first page. Utilize those opening paragraphs to showcase your unique voice. Your voice will grab the editor by the throat and make them keep reading past that first page. The great thing about voice is that you don’t have to alter the story to add voice. It’s there in how you show th...

Hey guys, It occurred to me that you guys might have specific writing craft or writing business questions that I could answer for you. So, comment and leave your question, and I'll address the questions in posts on this blog throughout the month of July! Camy

Many of you have seen the “Show, don’t tell” rule in writing articles and books. Basically, you want to “show” the reader the character’s emotions, not “tell” the reader the emotions the character is feeling. “Telling” tends to be distant point of view , which distances the reader from the character’s emotions. “Showing” involves your reader in what’s going on. It’s active and also concrete or tangible. The descriptions are usually more vivid and evoke emotion in the reader. Rather than telling information, show it through the character’s emotional reactions to something that happens in real time. Telling versus showing is a common mistake for writers because, at heart, we’re all storytellers, and that’s how storytellers “tell” a story. However, for writing fiction, you’d rather “show” the reader the action and make the reader an active participant in the events playing out. Put it this way: Like the audience of a play, the reader sees the characters acting and moving about on...

I talked about Freewriting and why that can help with character development over at the Seekerville blog: Camy here, talking today about how freewriting is saving my sanity. Yes, it’s true, I’m not being melodramatic (although Ruthy would probably differ—hush, woman!). Usually, when I’m brainstorming a new novel, I am armed with a pen, Post-It notes, and my closet doors: Click here to read the rest of the article

Cheryl Wyatt posted on character internal motivations over at Seekerville today: ToooT! TooooT! Chugga-chugga-chugga-chugga.... Welcome to Seekerville! Today I wanted to talk about something that I think is crucial in story structure, yet something not a lot of authors fully understand. I'm still on this learning train too by the way. Just this week I was brainstorming a new proposal with my editors in New York the day before Book Expo America and it dawned on me that character motivation has many more layers than I had really consciously thought about before. Click here to read the rest of the post, which includes examples!

Even if you don't present backstory in the first chapter of a novel, you have to present at some time in the book. But there are a few tricks you can use to make that backstory as emotionally compelling as possible. I wrote this article, which originally appeared on Suite101. Tips for How to Present Backstory Make a Character’s Past History Compelling Here are some good tricks to use when writing backstory in a novel so that the reader is intrigued by the information. The key to presenting backstory in a way that is interesting to a reader boils down to one piece of advice: Make the reader want to know the information. As a reader gets to know the characters and become interested in them, she will naturally want to know more about them. But even beyond this natural interest, up the stakes. Make the past important to the reader because it ties together mysterious threads of the current action. Dole Out Backstory in Bits and Pieces When information is given out slowly,...

Ever wonder why you hear that it's "taboo" to include backstory in the first chapter of a novel? I always did, too, until I discovered some psychological reasons why it's best to keep it out of the first chapter for the modern reader. I wrote an article, which originally appeared on Suite101. Save the Backstory For Later Why Not to Present Backstory in the First Chapter There are three reasons why it’s usually best for a writer not to include backstory in a novel’s first chapter. Writers often hear the advice to not include backstory or the character’s past history within the first chapter of the story. Many balk at this. After all, a character’s backstory explains things, makes the character’s actions make more sense. Otherwise, the reader will be confused or, worse, dislike the protagonist for his actions because there’s no explanation for this aberrant behavior. Also, backstory sets the stage for future conflict. Past secrets often cause problems for t...

As a follow up to my article about establishing the viewpoint character at the beginning of a scene, I also wrote this article, which originally appeared on Suite101, on a few tips for how to continue with the scene from the viewpoint character. Opening a Scene In a Character’s Viewpoint Some Do’s and Don’ts For Establishing Point of View There are a few things to keep in mind when establishing the point of view character at the beginning of a scene. When a writer opens a scene, the viewpoint character should be immediately established in order to slip the reader into a character’s skin. But once you’ve established the viewpoint character, there are a few things to remember in order to keep the reader interested. Plant and Point Deliberately Don’t waste the reader’s time by pointing out things that are insignificant to the story or that don’t somehow establish characterization. For example, if the hero likes the color blue, but it’s not relevant to the story, don’t hav...

I wrote this article, which originally appeared on Suite101, on a few quick tips for opening a scene and establishing the point of view character. Establish the Character Viewpoint Start the Scene Quickly in Someone’s Point of View Utilize these tips in establishing the point of view character when opening a scene. In his book, Techniques of the Selling Writer , Dwight Swain writes this about character viewpoint: Viewpoint is the spot from which you see a story. It’s the position and perspective you occupy in order best to savor a fictional experience. Ordinarily, that vantage point is inside somebody’s skin. That is, your reader will live through your story as some specific character experiences it. He’ll see and hear and smell and taste and touch and think and feel precisely what that person sees and hears and smells and what have you. Keep this in mind as you establish character viewpoint—slip your reader into the character’s skin. Choose the Viewpoint Character ...

Camy here: This is a compilation of my short series of posts on Developing Your Writer's Voice that I posted back in 2006, but I have put them all in one article for you here. One vital way to make your writing stand out is voice. In many of the contest entries I've judged and manuscripts I've critiqued, writers have muted their natural voice to sound bland and generic. Writing that's alive with its own distinct vocal flavor is a joy to read. The prose is richer and more vibrant, the characters more three-dimensional--all because the writer opens herself to her own writing style and revels in it. However, voice can also be the most difficult and slippery aspect of writing craft to discover and perfect. Raw, creative voice often doesn't result in a polished piece. The key is to first lay down the story with your unhindered voice and polish later. But how to unleash your voice? Many times, a writer's internal critic is hampering the free reign of his unique style...

I wrote this article, which originally appeared on Suite101, on introducing a character in your novel. The Basics of Introducing a Character A Few Main Points For When a Character Steps on the Page Three things to remember when introducing a character, whether the main character or a minor one. Whenever a character makes a “first appearance” in the novel, there are three things a novelist should remember when writing the scene. Create a Strong, Quick First Impression Ideally, the novelist wants the character onstage quickly, without a long paragraph of description. Give a strong first impression without a lot of detail—simply a phrase to anchor the character in the reader’s mind. Here is where a cliché could actually be used, because it’s a quick way to create a colorful impression with few words: “a spunky redhead” or “a one-legged pirate” or “a powerful businessman.” Whatever the writer chooses to create that first impression, make it the most significant aspect of...

Here's a note from author Ron Benrey: Janet and I are launching “Fiction After 50” seminars to help late-blooming novelists write publishable fiction and market their manuscripts to real publishers. The first Fiction After 50 seminar is scheduled in Dallas, on July 17-19; the next is in Orlando, on October 2-4. Each seminar is an intensive program -- 2.5 full days of classes, workshops, and guided small-group brainstorming sessions filled with practical exercises -- that will help unpublished novelists refine their novels-in-progress (or their ideas for the novels they want to write) and increase the likelihood that they'll sell to royalty-paying publishers. We’ll also teach many “hurry-up” strategies that can accelerate the process of finishing and marketing a manuscript. For more information visit: www.fictionafter50.com Incidentally, our Fiction After 50 seminars will be "managed" by Free Expressions Seminars and Literary Services, the same group the does the excel...

Check out the second part of my two-parter at Seekerville, talking about Strong Emotional Reactions. On Friday, I went into the other TWO of the four different types of emotional reactions and how you can mix and match them to create stronger emotions in your story. Also, check out the comments there--people bring up some good questions and I answer them in the comments. Strong Emotional Reactions, part two

I am over at Seekerville in a two-parter, talking about Strong Emotional Reactions. Yesterday, I went into TWO of the four different types of emotional reactions and how you can mix and match them to create stronger emotions in your story. Also, check out the comments there--people bring up some good questions and I answer them in the comments. Strong Emotional Reactions, part one

In my first drafts, I often have a problem in making my characters likeable within the first page or two. Since your reader will probably only give you a page or two in the bookstore, you need to capture their interest fast. I wrote this article, which originally appeared on Suite101, with a few tips on how to do that. Create a Relatable Character Use Tips and Tricks to Create Character Empathy in the First Five Pages In the first five pages of a novel, use actions or traits that psychologically cause readers to relate to or like a character very quickly. Most readers—including editors and agents—look at the first few pages to determine if the characters are worth reading about. Writers can utilize certain actions and traits that cause the reader to like the character or relate to him on a psychological level, without knowing anything else about him, and sometimes even showing him doing unsavory things a few pages later. Utilize for Both Sympathetic and Empathetic Charact...

This is continuing my series on things to look for in your first page. Click here for part six. Indicate point of view Make it obvious to the reader whose head he/she is in. Don’t leave them guessing—readers want to be grounded in the story as soon as possible. Here is where you can utilize deep point of view and WOW that editor. Drop them into a character’s head—a character who is so fascinating and unique that they’re struck by the vibrancy of the character’s personality or completely relate to the character’s struggles. Use deep point of view to accomplish this. Let the reader experience the character’s emotions, reactions, thoughts. Let the reader cringe or laugh when the character does. Let the reader feel everything that character feels. Let the reader know exactly what the character thinks about the things happening to him/her. Let your reader become that character from the first sentence, until your reader is transformed by the end of page one. Again, forgive me for using my...

Dear Ms. Tang, I've read a lot of your articles on writing, trying to shape my idea into a better novel. I've found that one tip I'm finding a hard time following is this... As soon as you can in the story, commit the character to their goal for the book. There shouldn't be any easy way out or turning back. Once the character decides on a course of action, he can't stall, run, or quit--there should be something logical, believable and powerful preventing him. The character should irrevocably decide to fight whatever danger threatens him. I don't have an apathetic/unmotivated main character, but I do consider his most identifying personality trait to be the opposite of such heroes as Frodo Baggins, Luke Skywalker, etc. as he does not yearn for adventure. He is full of self-doubt and lacks confidence, despite being the one destined to save everyone else and having the most potential/power to do so. My idea was to make his biggest enemy himself, needing to overcom...

This is continuing my series on things to look for in your first page. Click here for part five. Use key words deliberately In the first page, especially, you want to be extremely deliberate with every single word you use. If you have bland or neutral words, try substituting stronger key words that will indicate genre or develop your story’s atmosphere. You can always change it back if it doesn’t sound right or do what you want it to. (Forgive me for using my own writing as an example, but it was easier than typing up a few paragraphs from a book. The following is from Single Sashimi :) Venus Chau opened the door to her aunt’s house and smelled something terrible. “What’s that smell?” She tried to hold her breath. Her cousin Jennifer Lim entered the foyer with an angry look. “She’s making my kitchen smell.” “Who?” Venus hesitated on the threshold, breathing clean air. “My mother, who else?” versus Venus Chau opened the door to her aunt’s house and almost fainted. “What died?” She exhal...

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