Tag: rules

What is Suspension of Disbelief?

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Photo by Adam Hodgson

Photo by Adam Hodgson

I felt awkward as the photographer told me to turn my head this way and that, and our production director played AC/DC from her iPhone to set the mood. Between instructions, the photographer kept up small talk about Jethro Tull and praised my modeling abilities. “You’re a natural!” he said.

I knew, of course, that wasn’t true.

But I was willing to let a part of myself believe it was true, because I’d be more comfortable if I thought I was doing well. Therefore I would take better pictures. He knew that. I knew that.

We had entered into an unspoken contract known as a suspension of disbelief.

This contract requires something from each party. I had to agree to believe, on a superficial level at least, something I knew was not true. He, in turn, had to keep the lie within the realm of plausibility. It was not too far-fetched an idea that at least one person out of several he photographed that day would be good at tilting their head at aesthetic angles.

But if he’d said I was the prettiest, most talented subject he’d ever had the honor of photographing, he would have broken the contract. I’d become uncomfortable, suspicious he was mocking me or insulting my intelligence with such a brazen lie.

So how does this apply to fiction?

Well, here’s another example.

I was in the third book of the Inkheart trilogy, reading about a couple of characters escaping from a dungeon. I’ll redact names to prevent spoilers:

——- threw a rope down. It’s didn’t come low enough, but at a whisper from above it began growing longer, lengthened by fibers made of flames…They would have to climb fast to keep from burning their skin.

“That’s ridiculous,” I scoffed under my breath, “They’d burn their hands as soon as they touched it.”

And then I burst out laughing at myself. This was a story about people who could read things into being. Where women could turn into birds and back again, where men could command fire to take the forms of animals. And I hadn’t had trouble believing in any of that. But climbable fire – this was too much?

Yes. Because magic doesn’t eliminate the necessity of rules in a story. Anything can happen within fiction—but only within the framework of the fictional world and the tone of the story.

It’s perfectly acceptable in Douglas Adam’s Hitchhiker’s trilogy when Arthur Dent discovers the secret to human flight is to throw yourself at the ground and miss–because that nonsensical-yet-witty logic fits in a universe where six times nine equals 42.

But in a serious story—even a magical one—fire cannot support weight or fail to burn the skin instantly when grasped. Otherwise it’s not fire.

The moral of the story

Don’t blame your readers for failing to suspend their disbelief if you write something that breaks the laws of your own world. Most readers pick up a book with every intention of suspending their disbelief.

It’s up to you to make it possible for them to do it. Take it from Mark Twain:

Truth is stranger than fiction, but it is because Fiction is obliged to stick to possibilities; Truth isn’t.

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How to Master Apostrophes with Ease

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Photo by Brian Kelly

Photo by David Goerhing

Above are just two (technically three) examples of an error that pervades the English-speaking world almost as thickly as the incorrect use of the word “literally.” So I thought I’d do a quick, yet comprehensive, apostrophe usage guide that will actually be easy to understand.

When Apostrophes are Needed:

Possessives – when a noun owns (possesses!) another noun. Usually you indicate a word is possessive by adding an apostrophe and an ‘s’. Example: Stephanie’s blog means the blog owned by or associated with Stephanie.

Contractions – when you contract two words so tightly together that some of the letters pop out, leaving only an apostrophe. Example: don’t (from do not), I’ve (from I have), there’s (from there is), y’all (from you all – it’s a word, people!). [Bonus tip: if you’re writing dialogue in an accent, you use apostrophes wherever you drop letters, like you drop the ‘g’ in shootin’ the breeze. That’s how we Texans talk, anyhow.]

When Apostrophes are NOT Needed:

Plurals – a word that indicates there are more than one of something. We pluralize most words by adding an ‘s’ at the end. But NOT an apostrophe. Example: houses (more than one house), apostrophes (more than one apostrophe).

Singular Third Person Present Tense Verbs – actions done by one person you are talking about (not to); add an ‘s’ but NOT an apostrophe. Words like gets, owns, drives, writes. For instance, I walk, and you walk, but he walks. NOT he walk’s.

When it Gets Complicated

Plural possessives – when more than one thing owns something else, add an ‘s’ and then an apostrophe. For instance: the girls’ hair is red (two girls have red hair) versus the girl’s hair is red (one girl has red hair).

It’s vs. Its

Okay, so the possessives and contractions rule seemed pretty great, but, as seems to be inevitable with the English language, there was this one word that rebelled: It. You know; the giant brain from A Wrinkle in Time. I don’t know why the Powers That Be deemed it necessary to eliminate the apostrophe from possessive its, because context should in any case make the meaning clear. Probably just to torture kids in English class. But the standing rule is this:

It’s is a contraction for it is.

Its is the possessive form of it.

So there you have it.

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Word search: the magic diet pill for novels

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 DailyWritingTips.com recently published a guest post I wrote called 3 Things the Novelist Can Learn from the Copywriter, roughly 1/3 of which was about brevity. Let’s expand on that!

Brevity is the soul of wit. The fewer the words, the harder they hit.

You’d be amazed how many unnecessary words are weighing down your manuscript, clogging up your sentences and tiring your readers. Fortunately, modern technology has given us an easy way to trim some of this grammar fat: word search!

How do you do a word search? In MS Word, click “Edit” then “Find…” and type in the word you are looking for. If you use a different program, try typing “word search” or “find and replace” into the “Help” search bar.

Got it? Here are eight examples of word calories you can cut:

1. Very

“Very” is a very evil word that sucks the power out of nearly every sentence it appears in. Just look at how very unnecessary “very” is in these sentences from a very old draft of my book:

It would very soon become the same for her.

She vaguely remembered seeing a very bright light coming at her.

He would have to decide very quickly how much he could tell her.

Very soon. Very bright. Very quickly. “Very” is overkill – modifying modifiers.

It would soon become the same for her.

She vaguely remembered seeing a bright light coming at her.

He would have to decide quickly how much he could tell her.

Do a word search in your novel or story for “very” and eliminate all that you can.

2. That

Not as bad as “very,” but still often unnecessary. Try eliminating this one as well.

3. By

“By” is a sign of passive voice, which should almost always be avoided which you should almost always avoid. (Except to preserve clarity or to break up a monotonously-active paragraph.) Search “by” and reword all you can.

      Passive: The ball was thrown over the fence by Billy.

      Active: Billy threw the ball over the fence.

4. –ly

Never use an adverb when the right verb works fine on its own. “Very” is just one example; most adverbs end in “ly.” Do a word search for “ly” and pay special attention to phrases like “walked quickly.” Search thesaurus.com for the root verb, “walk.” Keep clicking words within your results to find the right one. “Trotted” is descriptive enough to replace “walked quickly” – it sounds better, too.

5. In order to

Almost always cut “in order.”

6. The fact that

Depending on the context:

            “Owing/due to the fact that” – replace with “since” or “because”

            “In spite of the fact that” – replace with “though” or “although”

7. The question as to whether

Cut “the question as to”

8. The reason why is that

Replace with “because”

The Elements of Style by Strunk & White gives additional word-trimming advice (rule #17, p. 23-24). This book is the writer’s bible. If you don’t already own it, read it free here.

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5 Tips for Turning Your Short Story Into a Novel

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I already posted some tips on keeping your short story from turning into a novel, but what if you want to turn that literary appetizer into a five course meal? Here are five tips to get you all the way through desert.

1. Second-guess yourself.

Some stories just aren’t meant to be 300 pages long. Some are perfect at ten, or five, or even two pages. Ask yourself if you feel satisfied after reading it. If so, leave it short. But if you want to know what happens in the story next, move on to tip #2.

2. Write forward, not backward.

If you followed the advice from my last short story post, you wrote the climax of your would-be novel, and that scene became your short story. Logically, then, you should go back and expand on the parts that lead up to that scene, right? Wrong. If you are writing just to drag out the beginning, that’s all it will be – a drag. Instead, try picking up where you left off at the end of the short story. Ask yourself what happens next.

3. Treat each chapter as its own short story…

I got this advice from someone else; naturally I can’t remember who, but it stuck with me because the idea was intriguing. Imagine a book so tightly constructed that each chapter could stand alone. No extraneous plot exposition; no wasted words. It would be incredible.

4.      …But make them flow together.

No. 3 is great advice if you’re used to writing short fiction, but remember; you are writing a novel, not a collection of short stories. It needs to flow like a single story. If each chapter has buildup, backstory, climax, and conclusion, readers will feel full after only the first course and won’t want to keep reading. Experiment with the placement of your chapter breaks; try ending a chapter at its climax, and beginning the next chapter with the conclusion, cliffhanger style. Once you’ve accomplished that, it’s only a matter of flowing that conclusion into the next part of the story.

5. Read good books. [a.k.a. Writing Law #1]

Two books come to mind when I think of short stories transformed into novels, and they are both by Ray Bradbury. Each is a different take on the process:

The Martian Chronicles

Each chapter follows a different set of characters; each is complete in itself, but each is also a glimpse of a greater whole. Together, the chapters give us a “wide-shot” of the story – complete, because it shows us the big picture, yet less personal, because there is no single protagonist for us to follow throughout the whole story.

Dandelion Wine

Almost the opposite of The Martian Chronicles; although each chapter tells a story in itself, they all follow the same character, and all of the chapters serve a common purpose: the growth of the protagonist. We get a narrower, yet more personal perspective; a “close-up.”

Do these summaries seem vague? Read the books! You’ll learn far more than I could ever teach you in a blog post.

The Three Laws of Writing

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There are dozens of rules in writing – ones you should follow and ones you should break – but there are three basic tenets at the core of good fiction that you ought to know. I’ll expand on the Three Laws as we go along. For now, here’s an overview:

Law #1: Read good books. Garbage in, garbage out. If you want to write well, feed your mind with excellent writing. You’ll learn a lot just by osmosis. Start with the books that defined your genre. If you write fantasy, read Tolkien. If you write sci-fi, read Wells. If you write mystery, read Doyle. Then branch out and read in other genres; Dickens. Carroll. Bradbury.

Law #2: Show, don’t tell. You’ll hear this one a lot, because it’s true. But it’s not always explained well. Here’s a short example: “she was beautiful” is telling; “her large, indigo eyes peeked out from behind a mess of curling flaxen locks” is showing.

Law #3: Write from your gut. You’re trying to write a dramatic scene and it sounds cheesy. It’s happened to the best of us – because we were trying to be poetic instead of just writing from the gut. Hopefully, we haven’t experienced the same tragedies that we inflict on our characters, but we’ve probably felt, to some degree, the same emotions. You’ve never lost your entire family to Martian invaders in a single day, but maybe you had to put your dog to sleep. Latch onto that feeling. Try to remember every detail – how it felt in your chest and in your fingers, the thoughts you didn’t want to think, the things you wished you could say. Avoid using fancy words; just write as plainly and as honestly as you can, and from the rawness of your emotion, beauty will naturally emerge.

Is your work Three Laws Safe?