How to make your book read like a movie

I have two pieces of advice today:

1. Don’t write your book as if it were a movie.

2. Do write your book as if it were a movie.

I love movies – and have spent considerable time daydreaming about my books as movies. There’s something magical about the scenery and the characters coming to life in front of you – with background music, no less! But some writers fall into trouble when they try to achieve that effect in the book itself.

For instance:

Against the left-hand wall were boxes of restaurant provisions, primarily paper towels for the rest rooms, candles for the tables, and janitorial supplies purchased in bulk. The right-hand wall, which faced the beach and the ocean beyond, featured two doors and a series of large windows, but the coast was not visible because the glass was protected by metal Rolladen shutters. The banquet room felt like a bunker.

            Sole Survivor, Dean Koontz, p. 239

What happened here? Koontz seems to think he has to  describe every feature of every scene down to the minutest detail for the scene to be vivid in the reader’s mind. But would the hero – who is about to find out whether his daughter is alive or dead – even notice janitorial supplies purchased in bulk? When you watch a movie, do you note the size, shape, color, and texture of every object in sight, or do you subconsciously register a general idea, and go on taking in the action?

The last sentence in this sample sums up, in seven words, what the preceding sixty-one words drag out. All Koontz needed to do was make some passing remarks about his hero squinting in the dim light of the mostly obstructed windows, or about the irony of the ordinariness of the restaurant supplies contrasted with the life-changing revelation he knows he is about to have.

Take the less-is-more approach. One or two details can go a long way into showing your readers where they are, but it will only hurt your writing if you describe everything. You’re the writer, not the set designer. You’re also not the fight choreographer. Don’t describe every single move in a fight scene. Your readers will get lost if they have to imagine each strike according to your exact specifications. A scene in a movie requires extensive choreography, but the viewer only perceives lots of movement and tension and clanging blades or flashing bullets, and that’s all you need to convey in your book. Not “a cut down across the left, followed by a two-handed thrust and a sweeping kick” for sentence after sentence after sentence.

The Takeaway:

Writing a book and making a movie require different methods to produce similar results. Give your readers a sense of scenery and action, but don’t get bogged down in details. Get back to the story!

Read my other post on how to “show, don’t tell” by writing with the screen in mind. 

Inspiration Monday XVII

We’ve had a little bit of everything this week, from poetry to steampunk. In other news, I wrote a new synopsis on Saturday, and it wasn’t terrible. You may applaud – and help me celebrate by reading the awesome pieces linked below!

Nimue

Pete

Patti

Marantha

Mike and two and flash fiction and one more

Kay

Chessie

Juan

PianoLover

Barb

Anna

Jinx

Drew, InMon’s resident lyricist, has recorded a song from past prompt Paper Towns

I missed SAB Inspirations

The Rules

There are none. Read the prompts, get inspired, write something. No word count minimum or maximum. You don’t have to include the exact prompt in your piece, and you can interpret the prompt(s) any way you like.

OR

No really; I need rules!

Okay; write 200-500 words on the prompt of your choice. You may either use the prompt as the title of your piece or work it into the body of your piece. You must complete it before 6 pm CST on the Monday following this post.

The Prompts:

One day he shot me; we’ve been happy ever since*

Do you ever feel like glass?*

I miss someone I’ve never met*

One man’s tragedy, another man’s miracle

Silence followed

Want to share your Inspiration Monday piece? Post it on your blog and link back to today’s post; I’ll include a link to your piece in the next Inspiration Monday post. No blog? Email your piece to me at stephanie (at) balcomagency (dot) com.

Plus, get the InMon badge for your site here.

Happy writing!

Today’s first three prompts brought to you from TragicPete, Blindside (the song Cute Boring Love) and Wes King (the song Thought You’d Be Here).

Inspiration Monday XVI

Another great week. I feel like I’m missing somebody, though…please let me know if I did, and I will rectify my omission with great haste!

Also, here’s a little gift I recently found out about and have forgotten to tell you all about for several weeks: (*cue fanfare*) A FREE (electronic/online) copy of Strunk & White’s The Elements of Style, also known as the bible of writing, which is fortunately way shorter than the actual Bible (my copy is only 85 pages long). Enjoy!

Jinx

Drew

Jenna

Mike

Patti

Kay

SAB

Juan

Chessie

The Rules

There are none. Read the prompts, get inspired, write something. No word count minimum or maximum. You don’t have to include the exact prompt in your piece, and you can interpret the prompt(s) any way you like.

OR

No really; I need rules!

Okay; write 200-500 words on the prompt of your choice. You may either use the prompt as the title of your piece or work it into the body of your piece. You must complete it before 6 pm CST on the Monday following this post.

The Prompts:

Outstretched fingers*

I can’t draw love, but I know it when I see it.*

She thinks I’m dead

Unmentionable

Confidence trick

 

Want to share your Inspiration Monday piece? Post it on your blog and link back to today’s post; I’ll include a link to your piece in the next Inspiration Monday post. No blog? Email your piece to me at stephanie (at) balcomagency (dot) com.

Plus, get the InMon badge for your site here.

Happy writing!

* Today’s first and second prompts brought to you by Jinx and TragicPete, respectively.

Sex in writing: where do you draw the line?

Parental Advisory: This subject is unavoidably adult, but I have included nothing gratuitous or obscene. I aim to be frank but discreet. Those old enough to benefit from the rest of this blog are old enough to read this post.

Without it, none of us would be here. It causes people to do crazy things, like throw away huge amounts of money, make idiots of themselves, occasionally kill other people, and of course, get married and have children. So can writers completely ignore sex? Obviously, no. The subject is going to come up. Not always, but sometimes. And anyway, we’re writers! We’re daring! We’re edgy! We push the limits of polite society!

But you wouldn’t show up to a book signing in a bikini.

In fact, you would consider it beneath you to do so. Why? Because although sex sells, there are a variety of words for people who sell it, and none of them are complimentary. Think about that. At what point does it become nothing but literary pornography? It doesn’t take writing talent to “turn on” readers. The crudest sentence (both technically and socially crude) can arouse anyone.

But sex isn’t just physical; it’s emotional, psychological, spiritual even.

And therein lies the key. The emotional side—that sacred bond shared between two people—that’s what you want to capture. But despite the great power of fiction, it has its limitations: while it is extremely easy to arouse your readers, it is extremely difficult to forge an emotional connection with them. One is a mechanical, hormonal reaction. The other is spiritual. You can try to use the mechanical to access the spiritual, but in this case, (be honest) it will only serve as a distraction. The physical side takes off—and blinds all other feeling. The moment you arouse your reader is the moment you cease to be relevant to their soul.

So what are we supposed to do?

Focus on the emotion. If you have to mention something physical, start with a kiss, a caress here or there, but focus on what that kiss means to your characters. What are they saying to each other in that kiss? Is the kiss a lie, or the truest thing they have ever expressed? What does it mean? Why is it important?

There is no need to go into great detail about where hands and legs and whatever else is; you will only undercut your attempts to connect, just as a guy would undercut his attempts to get a girl’s phone number if he kept making lewd suggestions to her, no matter how poetic his conversation was in between.  It’s the difference between lust and love; both are powerful, but only one means anything. So write about it, if you insist (assuming, of course, you are not writing a children’s book). But treat it as the sacred, private thing it is.

After all, you want your readers to respect you in the morning.

 —

You may have noticed I didn’t even mention erotica; this is chiefly because I deny its legitimacy as literature. I doubt any erotica writers would be hanging around this blog, but in case one happens to come across this post, well, I’m not going to apologize. And if I did, the word would be dripping with sarcasm.

 I welcome discussion in the comments – but please be sure it conforms to the parental advisory above.

How to write with body language

55% of human communication is nonverbal.

Which means more than half of what you say is nothing but expressions and gestures and eye contact.

Which means if you use nothing but “he said” and “she replied” to tag dialogue, your readers are missing half the message. Besides which, body language is also an effective way to show tone without “telling” tone. For instance:

“Hmmm,” she said unhappily/happily/thoughtfully. [All “telling”]

“Hmmm,” she frowned.

“Hmmm,” she smiled.

“Hmmm,” she tapped her lips with one finger.

We have the additional benefit of cutting the dialogue tag, “said,” which can get annoying in large doses.

Of course, use of body language isn’t limited to dialogue. You can say a lot without actually saying anything (useful if, like me, you are terrible at writing dialogue):

He hunched in his chair, elbows on knees, head in hands.

She bit the corner of her bottom lip, her gaze darting left and right.

He frowned, stroking his chin.

She leaned back and folded her arms, tapping her fingers against her skin.

He cocked one eyebrow, smirking.

There are countless other gestures to illustrate countless other emotions. Here are a few (in totally random order). Got any other good ones? Leave ‘em in the comments!

Grin

Smirk

Grimace

Furrow brow

Wrinkle forehead

Slap forehead

Twiddle thumbs

Twitch/tick

Bite nail

Suck thumb

Pick nose

Run hand through hair

Twirl hair

Skip

Amble

Stroll

Lumber

Swagger

Shuffle

Bob head

Flare nostrils

Wink

Nod

Shake head

Hug self/knees

Rub arms

Shudder

Shiver

Tremble

Scratch

Rub eye

Slouch

Tilt head to one side

Meet gaze

Look in the eye

Gaze slide to floor

Blink

Start

Shrug

Sigh

Sniff

Swallow

Wrinkle nose

Squint

Shift weight

Cross legs

Eyes glitter

Eyes glint

Clap

Snap fingers

Thread fingers

Fold hands

Nose in air

Look down nose

Look sideways

Peer

Glance

Stare

Glare

Purse lips

Push hair out of eyes