Currently viewing the tag: "author"
To become an author, should I study:
*English Literature? (I’m not interested in it, because it would just be about literature, not how to write better).
*Linguistics?
*Any others?
To write for a magazine, should I study:
*Journalism?
*Film studies?
*Media?
*Communications?
*Any others?
One of the challenges an editor must face is polishing the work of an author without erasing too much of that author’s style. If you follow a particular novelist, you might notice over time particular quirks to dialog and narrative that shape the author’s unique voice, little things inspired to endear readers over time. It may be a method of relaying a specific dialect, a favorite phrase used in more than one book, or even a mechanic style one doesn’t often see in certain genres.
Fantasy authors, for example, may feature characters that communicate by thought. To enhance this phenomenon to the reader, use of italics denotes what is being thought, rather than said. Some authors may take this device and imprint a unique style by adding asterisks or other characters to further emphasize the story. Other books may use different fonts to express and highlight different aspect of their tales as well.
An author should be unique in writing style, and should possess a voice that attracts readers and inspires them to want to seek out books that mimic yours, rather than leave them guessing for whom you take after. That said, there are a number of tics that readers (and editors) may find more annoying than amusing. In the spirit of previous articles on the subject of style, I hereby submit three more personal nitpicks of mine: devices and phrases I have seen in bestsellers and small press offerings. The following are not necessarily incorrect or improper, but may cause distraction if overused in a manuscript. Grab a pen and proceed with caution.
1) There was no other word for it.
I can’t tell you how many times I have suggested in edits that authors strike this sentence from their works. It is common narrative, used mainly to emphasize shock or surprise as felt by a character.
When Brian pulled the gun on her, Darlene was flabbergasted. There was no other word for it.
You think so? What about shocked, galled, puzzled, speechless, amazed, surprised, or bewildered? A quick search in the Thesaurus may produce more suitable words to describe how Darlene is feeling, standing there at the end of a gun, wondering if her life is about to end. Quite personally, were I in Darlene’s situation, one other word would come to mind…it’s about four letters long!
Is this phrase used incorrectly? Not really. Taking the scene from Darlene’s point of view, there could be no other words to say. Having a gun pointed at your face doesn’t necessarily inspire anything verbose outside of screaming in fear or gasping for breath. Is the phrase necessary? Not really. As a matter of personal opinion, tacking on “there was no other word for it” seems rather superfluous in this situation. If there is no other word to describe what Darlene is feeling, why not leave the scene at flabbergasted? Why add on dressing to an already tense scene, when brevity better evokes a sense of doom?
When Brian pulled the gun on her, Darlene was flabbergasted. She grasped the doorknob for support and pressed a hand to her chest to keep her heart from bursting. “What are you doing?” she finally cried.
Continue with the action of the scene without unnecessary words getting in the way, and keep Darlene alert in front of that gun.
2) Heads-a-hoppin’
When I send manuscripts for evaluation, one thing I ask readers to look for is concise differentiation of point of view. Are scenes constructed in a manner that one point of view is presented clearly? Otherwise, does the narrative appear too jumbled with too many voices shouting to heard over the others?
In fiction, third person point of view is easily the more popular style – over first-person, where the story is told entirely by one character, either a lead (e.g. Janet Evanovich’s Stephanie Plum) or an observer of the leads (e.g. Fitzgerald’s Nick Carraway, who tells the story of Gatsby and Daisy), and the rarely used second person (see Bright Lights, Big City for an oft-used example). Within the third person point of view are two distinctive styles: limited, which presents the story told from the perspective of a character based only on what he/she knows, and omniscient, where the character’s perspective of things is broader. In the case of omniscient point of view, the narrative might not even be told from the perspective of an active character, but an outsider watching and sensing everything that happens.
In a book written in the third person limited point of view, the perspective does not have to be limited to one character. In romance especially, point of view may switch from the hero to the heroine at various intervals. In mainstream fiction, perspective may expand to a number of core characters. Other books, especially cozy mysteries, limited the perspective to that of the sleuth, while a more intense thriller may also get into the head of a criminal.
However you decide to tell your story, it is strongly recommended to keep the perspective limited to one point of view within a distinguishable scene. In other words, avoid the device known as “head-hopping,” where point of view changes so swiftly within a passage that the reader might not know who is thinking what. While telling a story from different points of view is acceptable, it is suggested to make the shifts obvious so the reader can keep track. Head-hopping can be distracting to readers, and especially to editors who might decide the manuscript is too muddled to fix in a reasonable amount of time.
3) Dot-dot-dot
And now…we come to a device overused more than the comma…the ellipsis. Yes, there is actually a name for the “dot-dot-dot” that follows a trailed away thought, a break in conversation, or a tease into a sudden action. Used properly, the ellipsis indicates an omission of words; for example, if you have ever seen a movie ad where Roger Ebert proclaims American Pie is “The best film…of the year,” there is a good chance the film’s PR people are spinning critics words and exaggerating praise. For all we know, Ebert really said, “The best film to walk out of when you’re sick. Lord of the Rings is the best film of the year.”
In fiction, I often see ellipses unnecessarily used, whether to enhance a character’s flighty thought or conflict, or merely to make the prose more dramatic. In truth, words are better at doing that, and I would strongly advise any author who wishes to overdress his fiction in dots, dashes, and other superfluous characters to think twice. Stay to an active voice and let your sentences flow.
Take this advice as you will. As writers, you are the most comfortable with your style, but as you submit to editors and publishers they may not find that same level of ease you enjoy. Be judicious with punctuation and other devices, and tighten that manuscript for a future sale.
Kathryn Lively offers book marketing tips to authors, and writes for CINIVA, Virginia Beach website design.
CHESTER, VA June 2008 – With his detailed narrative, gripping plot, and compelling characters, African American author R. A. Baker is a fine newcomer to the literary playing field. However, there is one thing that sets Baker apart from most black writers: he writes science fiction. In 2008, R. A. Baker joined the ranks of black science fiction/fantasy writers like Charles Saunders, Steven Barnes, Octavia Butler, and Nalo Hopkinson, among others. They are part of a small, but growing group of writers, specializing in genres previously the exclusive domain of their white counterparts. It’s a trend poised to add a new perspective to fantasy and science fiction storytelling.
Baker, who wrote the sci-fi/fantasy novel, Rayna of Nightwind, says that he knew at an early age that he wanted to write sci-fi/fantasy. “I’ve always loved speculative fiction, which includes both sci-fi and fantasy,” he says. “It allows for so much creative freedom—it is the only kind of fiction I would ever want to write.” With the commercial success of the Harry Potter novels, and movies like The Lord of the Rings and Star Wars, there is little doubt of sci-fi and fantasy’s appeal. African American writers like Baker believe there is also a demand for a fresh approach to these popular genres. “I believe African Americans can bring a lot to the table and take speculative fiction in exciting directions it has never gone before,” he says.
Baker says he does not see himself as a pioneer, but simply as a member of a special, and often misunderstood group. “When I tell people I write sci-fi/fantasy, I sometimes get strange stares, like they are thinking to themselves, ‘black people don’t write sci-fi’,” he says. “It can be a little disheartening, but I know the best way to deal with attitudes like that, is to be as successful in my field as possible. In a way, it has made me a better writer, because I know I can never give up or stop writing. I would never want to give the naysayers that kind of satisfaction.”
Additionally, Baker points out that diversity should be sought in all areas. “If Tiger Woods had decided early in his career to abandon golf because it was uncommon for a black person to play that sport, we would have missed out on a phenomenal golf player, and a great role model,” he said. “I think it’s time we shattered some old stereotypes about black literature, and be open to explore different avenues”
To aspiring African American sci-fi/fantasy authors, Baker offers the following advice: “There is a world of possibilities to explore, so explore it your way. When I wrote Rayna of Nightwind, I stayed true to my voice and my particular writing style. Don’t let preconceived notions about your race influence how you write, or what you write about—let your imagination decide.”
R. A. Baker is the author of “Rayna of Nightwind”, the first novel in his new Taren series(published by Apollo House Press), which is available for purchase on Amazon.com.
Books can also be ordered via the Apollo House Press website: http://www.apollohouse.com/order.htm
Title: Rayna of Nightwind
Format: Hardcover, 328 pages
Publisher: Apollo House Press
ISBN: 978-0978751876
###
R.A. Baker was born in 1971 in a small town in North Carolina. His family soon moved to Richmond Virginia, and it was there that he discovered a passion for reading and writing. He especially loved writing science fiction and grew up watching shows like Twilight Zone and Star Trek.
He went on to win several writing contests and awards throughout high school and college. R.A. Baker currently resides in southern Virginia.
When developing a story or article, aspiring authors often hear this writing tip: learn to incorporate the “who,” “when,” “where,” and “how.” But what often gets overlooked is the “why.” Without examining why a story takes place, or why an article would be of interest to the reader, the entire writing experience can be a fruitless exercise.
* Why this character?
At a writing conference I once critiqued a manuscript featuring a character in a situation where you wouldn’t normally expect to find him. When I wondered why he was there, the author answered, “He just is.” “But how did he get there?” I asked. “One of the other characters put him there,” the author stated. “Why?” I pushed. The author didn’t have an answer.
If you arbitrarily think it would be cute to have a monkey, a doll, or a policeman as your story’s protagonist, the reader’s not going to care unless it makes sense to have that character inhabit your particular plot. And if a monkey shows up where he shouldn’t be–at school, for instance–why he’s there has to be an integral part of the story. But more than that, the reader has to know why this monkey is suddenly sitting in a first grade classroom. What’s unique about the character that makes him the only monkey who could possibly appear in this book?
* Why this story?
Just as important as knowing why your character inhabits your book is understanding why this character experiences the conflict or problem that fuels the plot. Your readers have to believe this protagonist would encounter these obstacles, and not be able to resolve the problem in a few lines of text. Not every child is afraid of the dark, so if your character hides under the covers when the lights are out, plant something in her personality that causes this behavior.
How the plot conflict is resolved also harks back to “why.” Why does your character take these particular steps, instead of an easier or more obvious route, to reach his goal? What fears, hang-ups or quirks does the character have to overcome to get what he wants? Would a child understand and care about these traits? Have you laid the groundwork in the beginning of the story so the reader believes the character could not possibly act any other way, thus never forcing the reader to question you in the first place?
* Why this article?
Virtually any nonfiction topic can hold a child’s interest if it’s presented in the right way. But first ask yourself why you’re writing this article or book. Does it have a direct application to the experiences of your readers? Can it tie in with what they’re learning in school? Will it enrich their lives in some way? If your motivations are clear, then take a hard look at your audience. Why would kids this age be interested in this topic? How can you present the material in a way that’s entertaining as well as informative? If you find you’re working hard to shape the information to fit a specific audience or format, perhaps you need to rethink your approach. Maybe you’re trying to write too young, and the subject really requires an older reader. Or perhaps you assume middle graders will be fascinated with an animal alphabet book, but after researching other ABC books on the market, you learn they’re really targeted to much younger children.
Laura Backes is the Publisher of Children’s Book Insider, the Newsletter for Children’s Book Writers. For more about writing picture books, easy readers and young adult novels, visit http://write4kids.com and The CBI Clubhouse
I’m writing a non-fiction essay where I add a quote from the book “Trainspotting.” It blends in with my writing. I have cited it, but I do not make any notice that it isn’t my writing other than the citation.
Tagged with: author • different • essay • from • include • nonfiction • personal • quote • Stylistically • wrong
I have to make 2 questions using a short story that’s non-fiction and they have to be about the authors choice of a particular structure how would I do that?
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