20 Ways to Improve Your Writing by H.R. Morgan - HTML preview

PLEASE NOTE: This is an HTML preview only and some elements such as links or page numbers may be incorrect.
Download the book in PDF, ePub, Kindle for a complete version.

TABLE OF CONTENTS

1. Keep opinions to yourself ………………..……….……….

 

2. Cause and effect ………………..……….………. 4

 

3. Activate the senses ………………..……….………. 4

 

4. Emotional thermometer ………………..……….………. 5

 

5. Verbs are friends ………………..……….………. 6

 

6. Give the reader cookies ………………..……….………. 7

 

7. An interactive setting ………………..……….………. 8

 

8. Organize a parade ……….……….……….………. 9

 

9. Handling exposition ……….……….……….………. 9

 

10. Speech tags ……….……….……….………. 10

 

11. Get specific ……….……….……….………. 11

 

12. Simplify ……….……….……….………. 11

 

13. Tense confusion ……….……….……….………. 11

 

14. Character building ……….……….……….………. 12

 

15. Pacing ……….……….……….………. 12

 

16. Conflict ……….……….……….………. 13

 

17. Ticking clock and quests ……….……….……….………. 14

 

18. Scene structure ……….……….……….………. 15

 

19. First person interior monologue ……….……….……….………. 15 20. Jack in the box ……….……….……….………. 16

Three Final Tips 17
About Writefine 18

1. Keep opinions to yourself

 

A major pitfall of the amateur writer is to cheat by describing scenery with an opinion,

 

when they should make the scene project that feeling upon the reader without telling

 

them how to feel.

 

Unless the narrator is an integral part of your storyline, descriptions in third-person

 

narration should not contain opinionated words. Do not tell the reader that the dark forest

 

is scary, eerie, ghastly or horrible. Show them through vivid description and character

 

action. When you leave the description open to interpretation, the reader becomes more

 

involved in the story process.

 

Opinionated words do have their place. They should be closed inside of monologue or

 

dialogue to develop characters. Show the setting objectively and then make your

 

character react to it. This way, the scene is written to make the reader develop their own

 

opinion.

 

For example, some people would feel perfectly at home in a swamp or cave. Others

 

would find it dreadful. It accomplishes nothing to describe your swamp as a “dreadful

 

swamp” in the setting description. Show us why most people think it is dreadful. You

 

will have to work harder but your efforts will be well-rewarded.

 

Conjure up the elements that people associate with dread: creepy crawlies, putrid

 

smells of decay, fog, sounds and twilight.

 

Let the reader use their imagination and form an opinion and they will be more willing

 

to accept the character’s reaction to the setting.

 

2. Cause and effect

 

Cause followed by effect draws the reader into your world. Describe action with the

 

active noun first, follow this with the action that takes place, and then show the effect of

 

the action.

 

Some writers attempt to sound eloquent by structuring the sentence with the effect

 

first. While this works for a humor column, it has no place in fiction. Cause naturally

 

precedes effect in the real world. If you craft an action scene to model reality, the reader

 

will be able to make a smooth visualization of the scene taking place.

 

This out-of-order structure can jar the reader right out of the story. Active passages

 

should flow straight from the page to the reader’s imagination. This increases the

 

believability of the story.

 

3. Activate the senses

 

Use the character’s bodily senses to draw the reader in: sight, smell, hearing, taste and

 

touch. In areas with major conflict, try to plant one or two sentences related to the setting,

 

objects or characters and tie them to the senses of your protagonist.

 

Make it a point to activate one to three senses before conflict so that the upcoming

 

scene feels more realistic to the reader. This temporarily magnifies their attention and, as

 

a result, the conflict has a greater impact.

 

4. Emotional thermometer

 

An “emotional thermometer” is designed to reflect the power of your writing. The

 

standard protagonist will display normal responses to a situation. Their body language

 

will tighten up under stress and relax during joy. Out-of-context reactions indicate a

 

mental illness (the trait of a villain or anti-hero).

 

Readers love body language. There should be slight movements and actions to give

 

the reader a signal about how the character feels. (Show fear, nervousness, anxiety, etc.)

 

People like to read into a character’s mannerisms and reactions. These aren't brain

 

numbing mysteries. They are easy-to-interpret signs that we use everyday. Also, body

 

language utilizes the power of cause and effect.

 

Example A: “Paul tore the letter open. Sarah was nervous.” (This is grammatically

 

correct but it sounds like stage directions.)

 

Instead of summarizing how Sarah feels, show the reader how she feels through body

 

language.

 

Example B: “Paul tore the letter open. Sarah bit her lip.” (Better)

 

Action and body language enhance dialogue, especially in moments of high drama

 

such as arguments, physical fights, sex, personal loss or the death of a loved one.

 

Arm movement says a lot about how a character is reacting, even if they try to hide it

 

with a poker face.

 

Example: If Ted initially had his arms clasped behind his back, he was at ease,

 

comfortable and relaxed. If he feels uneasy, he will draw his arms forward and clasp his

 

hands together against his body to guard himself. Crossed arms is a bolder version of

 

guarding and can sometimes be considered hostile. Body language can be a coping mechanism or used to engage in mirroring behavior in

 

order to build rapport.

 

We know that dialogue is delivered a number of ways. Body language can set the tone

 

of the dialogue. Pointing, along with a short command, signifies an order. Facial

 

expressions can show the speaker’s demeanor. Use body language to demonstrate a

 

change in a character’s mood.

 

As writers, we read with an analytical eye because we understand the nuts and bolts of

 

writing. Most of the time, we observe and use body language everyday without really

 

thinking about it. Great writers study people and their body language. (You should be

 

able to find a book about body language at your local library and watch people closely,

 

without their noticing of course.)

 

5. Verbs are friends

 

Proper verb choice is perhaps the quickest way to elevate the quality of your writing.

 

Don’t “put” on your shoes, “slip” them on. Verbs are used to package the scene for the

 

reader’s imagination. They should be concise and bring images or feelings to mind.

 

Example A: “He held the shield against himself.” (This is weak.)

 

Choose a verb and sentence structure that presents more visual detail and effort for the

 

movement.

 

Example B: “He braced against the shield.” (More effort is being made, his whole

 

body is moving, and there is a sense of urgency.) This is because the action seems more

 

important to the character and this will carry through to the reader. If your character

 

doesn’t care, neither will your reader. Often times, words like was, have, had, were, is, would, should and could are

 

unnecessary. (If you have Microsoft Word, click edit at the top left of the window and

 

scroll to find. Replace the words with power verbs.)

 

Sometimes the correct verb will already be in place. Simply change “I was

 

explaining” to “I explained”, “had to work” to “slaved”, “was aimed” to “aimed” and so

 

on.

 

Other sentences will need to be completely restructured. For example, “She was never

 

embarrassed by Maria” to “Maria never embarrassed her.”

 

In rare cases, you can intentionally plant the word ‘was’ before the verb to create a

 

soft visual.

 

Remember, when evaluating a verb, ask yourself the following two questions:

 

• Is it as visually descriptive as possible?

 

• Will another verb show more exertion for the action?

 

Exertion doesn’t always mean physical power. There can be a tremendous exertion of

 

concentration with the use of fine motor skills or in tactical decision-making.

 

6. Give the readers cookies

 

Readers love to play detective and figure out the story for themselves. It satisfies them

 

with a sense of accomplishment.

 

Example: “The office was stressful.” (Show this.)

 

In fact, you don’t even have to mention the word stressful, if you create the scene

 

properly. Describe the business people working at high pace, the knots of the men’s ties are

 

loosened. Sweat beads down the supervisor’s forehead. He clamps a pen between his

 

teeth and punches characters into a keyboard.

 

Do not make simple statements to tell the reader about a character’s mood.

 

Example A: “Michael became bored.” (And so does the reader.)

 

Have Michael check the time of his watch, drum his fingers against the table, click a

 

pen repeatedly, sigh or roll his neck.

 

Use subtle hints and indicators of emotion in your scenery to allow the opportunity for

 

people to read your character by his or her actions.

 

7. An interactive setting

 

Use objects and surroundings to your advantage. If you present only the visual aspects

 

of a room, the description will seem sterile and lifeless.

 

Create a crackling fireplace to cover the auditory sense, a smell of leather, paint or

 

charred wood, a feeling of warmth. Are there pictures on the wall? What is on the desk?

 

A business card? What colors were used in the business card? Is it a sharp and

 

professional black and white? Or more relaxed, filled with color and artistic looking?

 

This is a unique way to tell the reader about a character’s personality.

 

Objects can convey messages to the reader. For example, instead of using the car as a

 

vehicle to get from the hospital to the airport, have some fun playing with the objects in

 

your story. If it’s raining outside, you will need windshield wipers. What noise do they

 

make? There is a car alarm, heater, air conditioner, windows, mirrors, horns, and so on. This emphasizes cause and effect with common objects and strengthens the

 

believability of your story. The reader will be hooked in.

 

A coffee mug can be held various ways, shattered and contents can be spilled. Don’t

 

waste good characters by trapping them inside of a cardboard setting.

 

8. Organize a parade

 

Seat your character on a bench and force them to watch the townspeople stroll through

 

a crowded street during a festival. What would your character have to say about the

 

setting?

 

A rich fantasy setting is made by brainstorming about the town, seasons, weather,

 

festivals, customs, religions and people. A new culture is formed.

 

How do servants behave? Men drinking at a bar? How do the children interact with

 

their mothers and fathers. How does the general public feel toward your character? How

 

do they treat the elderly? Your descriptions should be in proportion to importance.

 

9. Handling exposition

 

Dumping chunks of background information, character descriptions and continuous

 

dialogue will distract from the scene. Exposition longer than three sentences should be

 

broken up by using interior monologue, dialogue and descriptive action.

 

This is vital in a screenplay. Except for cases of artistic-effect, never use voice over

 

for exposition. It is cheap and bores the audience.

 

Remember to incorporate all of the above tips into your toolbox and you will be able

 

to chop exposition up so that information is seamlessly transmitted to the reader.

 

10. Speech tags

 

Example of redundancy: “Why didn’t he invite you?” she asked. “Well, you know

 

Marcus,” he replied. “That pig!” Becca exclaimed. (We know she is asking because of

 

the question mark and we know she exclaimed because of the exclamation point.)

 

Common speech tags like, said, replied, answered and returned do not draw the

 

reader’s attention and serve to denote the speaker. Use these common speech tags when

 

there is no change of mood and you need to show the speaker.

 

Example of bad speech tags: “Change the name,” Gabby insisted. “But I like it,”

 

Francis murmured. “Well, I suppose,” she chuckled.

 

This comes back to body language. When you see a bad speech tag, you’re cheating

 

yourself out of a sensory description. Speech tags interrupt the flow of good dialogue.

 

Fortunately, they are very easy to fix in revision. The speech tag will give you an

 

indication of how to present the body language.

 

For example, replace “he demanded” with a short sentence to show the he is

 

demanding through body language.

 

Descriptive character action placed before, during or after dialogue marks the

 

character as the speaker. This way, you can avoid using a tag altogether.

 

The reader will better visualize the scene if it can be livened with body language and

 

mannerisms. More reality is brought to the story because the reader can identify with the

 

sensory descriptions. Why use one word to describe how your character spoke, when you

 

can use a detailed sentence or two?

 

11. Get specific

 

Restrict the use of adverbs like: some of, most of, mostly, very, extremely, totally,

 

completely, wholly, entirely, utterly, really, quite, rather, somewhat, slightly, fairly and

 

great.

 

Don’t use three adjectives in a row when you could just pick one precise adjective or

 

an active verb.

 

Replace vague words like something, anything, and everything with specific nouns.

 

Cut unnecessary prepositions like: by, has, for, of, on, managed to, began to and

 

started to. They will slow the action down and stifle the reader’s visualization.

 

12. Simplify

 

Cut out gobbledygook and simplify wording:

In regard to: about
In the event that: if
A sufficient number of: enough In the vicinity of: near Were in agreement: agreed On a daily basis: daily Were in attendance: attended On the occasion that: when At this point in time: now Are of the belief: believe

13. Past tense

 

Don’t be afraid to fully embrace past tense and drop the –ing clause. It doesn’t create

 

immediacy, it presents the sentence in a confusing manner.

 

The –ing clause can be used sparingly by placing them in the middle of the sentence.

 

Save it for a verb in the middle. Link the –ing clause with a verb that is a lasting sensation. (burning, stinging, bleeding, numbing, falling, etc.) This is a master’s trick. Be

 

confident with your writing and embrace past tense.

 

14. Character building

 

What does your character do when nervous, afraid, shy, embarrassed, confident and

 

angry?

 

Dialogue can be individualized to mark the speaker and enhance characterization.

 

Perhaps the character occasionally begins or finishes a sentence with the same word.

 

Does the character use a certain exclamatory statement? Are there individual

 

mannerisms? For instance, a character that wears glasses could constantly adjust them.

 

Give main characters specific mannerisms, speech patterns and nervous habits and use

 

the power of body language.

 

15. Pacing

 

As a general rule, longer sentences evoke slow-motion, panoramic visuals and short

 

choppy sentences will jumpstart pace and tension during action scenes. Split sentences up

 

to eliminate conjunctions during action.

 

Gerund trick: A dash can be placed between a gerund and noun or gerund and

 

adjective to speed the pacing during action.

 

Example A: “William threw a fractured glass window to the floor.”

 

Example B: “William threw a fractured-glass window to the floor.” (Faster pace)

 

Adverb trick: The –ly clause can be cut from the end of an adverb to reduce the word

 

by one syllable and create an adjective. Example A: “Rocks fill the hole merely by chance.” (The two syllable adverb seems

 

out of place.)

 

Example B: “Rocks fill the hole by mere chance.” (This opens the flow and the pacing

 

is not interrupted.)

 

16. Conflict

 

In wrestling, an opponent “sells” a move to show the crowd how devastating it was. In

 

film, great actors are totally immersed in their character’s reactions to the scene. The

 

audience is drawn into the performance and the outcome is magnified.

 

The protagonist must be tested as a person to become a hero. The reaction to conflict

 

is almost always more important than the action.

 

Conflict in first person: Accounting for time can be complicated in first person.

 

Outline the peaks of conflict that take place and jump from one peak to the next. (A

 

couple of minutes later, three hours later, the following week, etc.) Transitions like these

 

can be used to account for time where nothing notable happened. You don't want to write

 

about the thirty minutes your character spends sitting on the toilet unless it has some

 

conflict.

 

Think of the peaks of conflict during your character's day. The conflict should

 

advance the plot and you will notice a nice increase of pace.

 

Don't explain that something big took place in one of these time gaps or your reader

 

will feel cheated. Example: “Michelle packed up and left me last night.” (Show, don't tell.) The reader

 

wants to see the argument and the fighting, her stomping out and slamming the door. Call

 

the police if you must.

 

17. Ticking clock and quests

 

A ticking clock elevates the overall level of suspense but it comes with a high price.

 

When the reader takes note of the deadline, every scene containing a character tied to the

 

ticking clock automatically loses suspense. The reader knows they are in no real danger

 

because they have to make it through until the set deadline. Bad things could still happen

 

to a secondary character but that isn’t as important.

 

An improperly used ticking clock adds another layer of disbelief. Secondary

 

characters can be built and placed in major conflict.

 

The best alternative is to attach the ticking clock to a secondary character or an

 

element of extreme importance to the POV character. For example, the impending doom

 

of a planet, city, species, etc.

 

The suspense of a quest usually develops around the middle of the story. You can pull

 

suspense to the beginning of the story by introducing elements that are required to reach

 

the goal of the quest. For example, a map or relic with clues is vital to the quest and can

 

be introduced at the beginning of the story. This way, the quest can be jeopardized long

 

before the characters get to the heart of the quest. The map could be stolen and chases

 

could ensue. The characters might have to hide it.

 

18. Scene structure

 

Please use outlines. I recommend outlining your story. This organizes your creativity

 

by chapter. Even a loose structure helps. Take the notepad or voice recorder full of ideas

 

and sort them out by chapter. Decide how the characters will interact. The ideas should

 

contribute to the plot.

 

Who wants to sit and freewrite 90 pages, spend sixty hours revising and then have to

 

cut 50 pages?!

 

Try to assign three scenes to each chapter of your story. Each scene should drive the

 

plot forward. Begin by defining the objective of the scene. Then find the problem that

 

causes the conflict. Next, decide the outcome of the conflict. Lastly, confirm that the

 

scene either resolves or advances the original problem. (Something has to develop.)

 

For story and hero archetypes, I recommend reading Joseph Campbell’s The Hero
with a Thousand Faces
. Explore myths, fairytales, Ovid and Homer.

 

19. First person interior monologue

 

“I thought” and “I felt” statements have no place in first person POV. This comes

 

back to redundancy. Interior monologue already suggests that the character is thinking.

 

Feelings should be expressed and described without using “I felt.”

 

Answering questions with interior monologue is fine but be careful not don't overdo it.

 

Each line of thought should have a purpose. Don't go in circles with meaningless babble.

 

Instead, build the character through their actions, choices and reactions to conflict.

 

Opinions and generalizations work best with interior monologue.

 

20. Jack in the box

 

“There is no terror in a bang, only in the anticipation of it.”

 

-Alfred Hitchcock

 

Cause and effect placed inside a strong setting will suspend the reader’s state of

 

disbelief. This works by establishing rules to your setting and your characters must

 

follow these rules. This gives your story world a firm foundation. The rules of the setting

 

reassure the reader with examples of order and stability. The reader will relax and trust in

 

you, the author, to stay within the boundaries that have been set.

 

Tension comes from the contrast between what is considered normal conflict in your

 

story and the anticipation of the chaotic, like an emerging element of surprise.

 

If you introduce too many supernatural or alien elements into the story, it becomes

 

unbelievable. (It becomes a bad comedy.)

 

This is a classic horror formula. Other forms of fiction can crank the tension by

 

introducing elements that threaten the stability of the setting. Tension comes with the

 

anticipation. You can allude and indicate the potential for chaos to keep the reader on the

 

edge of their seat. Tension works like a rollercoaster. It’s not being high that gives the

 

thrill, it is the contrast of up and down and left and right. Remember, tension must fall back to normalcy in order to rise.