By Garry Disher
Important for writers at any point or age, this advisor explains the elemental steps to powerful fiction writing. From an award-winning writer, sound, functional recommendation is incorporated at the most important components of fiction, resembling plot, personality improvement, and voice, and techniques are supplied for the potent use of annoying and the discussion. All varieties of fiction are explored, together with novels, novellas, brief tales, and crime fiction. additionally, the writing innovations brought are illustrated with examples from a large choice of recognized writers, providing a candid photograph of the excitement and pitfalls from a variety of fiction-writing reports.
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Extra resources for Writing Fiction: An Introduction to the Craft
As this chapter shows, the material for fiction is ever-present, need not be new and different, and can be developed in a number of ways. ’); incidents they’ve witnessed; responses to books, films, paintings, music; painful or pleasing experiences; landscapes; plot outlines; beginnings; endings. Sometimes writers start with an image. Sena Naslund, author of Ahab’s Wife, was driving her car when she had a vision of a woman gazing out to sea, waiting for her husband. When Naslund heard the woman say, ‘Captain Ahab was neither my first husband nor my last’, she knew that she had her novel.
TYPES OF CHARACTERS Novels and stories will have all or some of the following: the main character (there may be more than one); the ‘goals’ of the main character (for example, a potential lover); those who help the main character; those who hinder the main character; and those who influence the main character in passing. You will generally know who the main character is at the start, but sometimes this isn’t clear, or you will discover, as you write, that one of the minor characters would make a better main character.
Some stories and novels will require research. I spoke to detectives before writing my crime novel, The Dragon Man, for example, and read library and archival material for my novel of the Second World War, Past the Headlands. I love research. At times it’s systematic, at other times it involves random leads, side tracks, suppositions, lucky finds and dead ends. When dealing with a mass of material, learn the arts of selection (for example, write about a key or representative day of a holiday romance rather than a string of days and experiences) and specification (focusing on single moments, emotions or incidents).