Thursday, January 29, 2015

A Word on Adverbs


Many English and creative writing teachers/professors hold a grudge against adverbs. They commonly (adverb) consider it lazy.
I get that. Why write, “He angrily shook the table,” when you could write, “He shook the table so hard that drinks toppled from it”?
The more you avoid adverbs, the more descriptive you must write to communicate your message. I find, under almost all circumstances, that any “rule” that forces you to juggle your words benefits you as a writer.
“She said shyly” or “She whispered while she faced the floor, a slight blush at her cheeks.”
However, adverbs don’t strike me as “bad.” They serve as tools, like any other part of speech. They possess their uses, especially in concise writing.
Words that describe a verb (action word) count as adverbs. Words such as bitterly, slyly, shortly, and ape-with-an-itchy-buttly (don’t tell me I can’t invent words; every word represents an invention) all work as adverbs—and adverbs sometimes work.
I could rewrite the sentence “She said seductively” as “She said with her eyes half-closed in a heavy, breathy voice, her right hip cocked.” Which works best for your scene?
The second scene creates a better picture, but perhaps you need to speed things a bit via a tighter word count.
Perhaps you already painted a picture of how this particular character behaves when she wishes to seduce someone, and you see no reason to repeat yourself.
An adverb occasionally (adverb) proves the right tool for the job.
Consider, when you edit, an alternative to any adverbs you find, but keep in mind that sometimes your scene require an adverb.
Feel free to use them (unless you professor hates them, in which case give her what she wants for the duration of her class).


Thanks for reading.
You probably noticed that I went about a week without a blog entry. I apologize for that. The creation of the prototype for my card game, Duelists of Darkwana (based on my novel series, Diaries of Darkwana), managed to eat up a lot of my time.
I also need to explain, on that note, where the heck the third novel for that series went. It sits done and ready to publish on Kindle.
At the moment, my wonderful cover artist deals with a few distractions. I promise that as soon as I get the completed cover art from her (if not sooner), I shall publish the third novel in my series.
OH! Also, Daughters of Darkwana received a sweet, succinct review, which you can read here, http://www.thebookeaters.co.uk/daughters-of-darkwana-by-martin-wolt-jr/


I publish my blogs as follows:
Sundays: Movie reviews at moviesmartinwolt.blogspot.com
Mondays: Short stories at martinwolt.blogspot.com
Tuesdays: A look at the politics of the entertainment world at EntertainmentMicroscope.blogspot.com.
Wednesdays: An inside look at my novels (such as Daughters of Darkwana, which you can now find on Kindle) at Darkwana.blogspot.com

Thursdays: Tips to improve your fiction at FictionFormula.blogspot.com

Thursday, January 15, 2015

How to Juggle Your Words

A writer, in her or his quest to create a unique voice and to write sentences in unique ways, must learn to juggle words, to disregard the most obvious choices to articulate an idea.
Many grammatical rules, though outdated and often unenforced, coax a writer’s hand to rephrase her or his ideas.
I, in my quest to formulate a unique voice for my fiction, frequently take these grammatical rules to an unhealthy extreme, not because I bow to those “rules,” but because, to satisfy them, I must repeatedly juggle the words within my sentences.
This results in fresh sentences with an accent all their own.
Note that most people don’t speak like this, and you don’t want all your characters to sound the same. If you follow this path, ease up on it when you deal in dialogue.
Also note that overly grammatically correct sentences will start to sound a bit stale. Pick and choose (with purpose) which of these rules for which you shall develop OCD. Remain consistent with them.
I, a writer of fantasy novels such as the Diaries of Darkwana series, enjoy more leeway with overly grammatical dialogue, as it lends a majestic inflection to my otherworldly characters (or so I tell myself).
The list that follows outlines some of my personal rules. You shouldn’t feel required to follow them. Chances seem fair that the literary tune that results might not fit your own story or style.
However, this list might provide you with some idea what rules you’ll want to create and faithfully follow.

1)   Never end your sentences with prepositions.
Let me speak as clearly as possible. Plenty of perfect sentences end with a preposition. The grammar police will not break down your door if you disobey this “rule.”
However, this rule often forces me to rework a sentence and find a more creative way to express its idea. I like that.

2)   Avoid passive verbs such as: was, were, had, have, is, and be. I even dislike do and does.
I go out of my way on this one for two reasons.
First, I again enjoy the aforementioned opportunity to reshuffle my words, seek out new ways to express my sentences’ notions.
Second, passive verbs sound passive. They also come across as cheap and lazy.
I ought to admit that some of my alternatives to these passive verbs rub certain readers the wrong way. I heard more than once that a few readers found my replacements a distraction, and that they wished I settled on a passive verb, instead.
I often write, “possessed” instead of “had.”
“Existed” instead of “was.”
“Become” instead of “be.”
You’ll need to (instead of “have to”) make your own choices. Keep in mind that you cannot please everybody.

3)   Start with the subject.
I experimented, not that long ago, with the other extreme. I didn’t want to repeatedly use the same sentence structure (Subject-verb-object). I feared that this would begin to sound monotone. I would often write:
“He reached into his vest pocket and grabbed the dead snake’s body. From his pocket, he threw the half-rotten beast at the clown-demon. The demon’s face, the beast slapped.”
Okay. I never before wrote those sentences, but I wanted to create a loud example of why this previous, bright idea of mine failed so miserably.
 "He reached into his vest pocket and grabbed the dead snake’s body, threw the half-rotten beast at the clown-demon. The beast slapped the clown’s face.”
It sounds more active for a reason. My prior efforts to create a less monotone sound backfired when I decided to mix the sentence structure.
Lesson learned. Start with the subject, the part of your sentence that performs the action.

I shall, next week, discuss those grammatical rules I do not follow . . . and why I doubt you should, either.


(Thanks for reading. You might notice below that I changed the schedule for my blogs. I will, because of the number of projects on my plate, only produce a short story for this blog on Mondays. Fiction Formula will switch from Fridays to Thursdays. I apologize for any inconvenience, though I . . . doubt this will rock anyone's existence. Thanks again!)

I publish my blogs as follows:
Sundays: Movie reviews at moviesmartinwolt.blogspot.com
Mondays: Short stories at martinwolt.blogspot.com
Tuesdays: A look at the politics of the entertainment world at EntertainmentMicroscope.blogspot.com.
Wednesdays: An inside look at my novels (such as Daughters of Darkwana, which you can now find on Kindle) at Darkwana.blogspot.com
Thursdays: Tips to improve your fiction at FictionFormula.blogspot.com

Thursday, January 8, 2015

How to Say More in Fewer Words

I enjoy a minimalist’s writing style. Anyone who ever read my novels probably noticed. I admit that such a style proves anything but normal for fantasy stories. That might serve as one of the reasons I enjoy this style so much.
I live in fear of one thing other than zombie clowns. I fear a bored reader will set aside my work and “get back to it eventually.” A greased pace to my novels helps avoid such disaster.
I withhold nothing when I write the “vomit draft” of a novel. I usually end up with a book that runs close to a thousand pages. I afterwards sharpen the hatchet and slaughter my child, until nothing remains but the heart of my story.
A man sees Michelangelo’s recently completed masterpiece, David.
The man asks Michelangelo, “How did you craft that statue from a pillar of marble?”
Michelangelo replies, “Easy. I chipped away all the pieces that were not David.”
I would like, today, to discuss methods that help me trim the fat from my sentences, find more concise ways to tell the same story.

1)   Write the film script.
If you don’t own the script-writing software Final Draft, you can always download a program called Celtx for free.
You, armed with either software package plus a draft of your current novel, can write the film script version of your story.
Don’t fret if you don’t know how to write a script. Tutorials exist on Youtube. You can also study preexisting scripts.
You now face the goal of a one hundred-paged script. No more. No fewer.
Why one hundred pages? A professor at film school once told me that this leaves the wiggle room to remove or add a scene without a final product that runs too long or short for the big screen.
Remember that every page of your script equals about a minute of screen time.
You'll likely discover that your novel results in more than one hundred pages of script.
You can combine or remove characters.
Shorten dialogue or replace it with action.
Remove scenes or pool them together in a montage.
You shall discover, while you struggle to squeeze your story into one hundred pages, which scenes and characters your story can survive without.
You ought to remember that your favorite scenes and characters serve as your most dangerous. They represent the ones you will fight tooth-and-nail to keep, whether they need to exist in your story or not.
Trust me. I know this well from experience.

2)   Three lines per paragraph.
A film professor (not the same as previously mentioned) told me to keep all my paragraphs, may they serve as blocks of dialogue, setting, or action, to three lines or fewer apiece.
Why? Actors and set designers find it easier to keep their place on the page this way. Seriously.
People find it easier to recall—should something sidetrack them for an instant—whether they read the top, middle, or bottom line in a paragraph.
The craziest thing happened while I labored to shorten all my paragraphs to three lines apiece. I discovered more succinct ways to tell the reader the same thing.
Necessity. Invention.
I use the three-line method in my novels (though a single line on Microsoft Word will not always equal a line on Kindle). It works wonders. If a rule forces you to chop away fat, fat you will find.

Go sharpen your hatchet.

(Thanks for reading. You might notice below that I changed the schedule for my blogs. I will, because of the number of projects on my plate, only produce a short story for this blog on Mondays. Fiction Formula will switch from Fridays to Thursdays. I apologize for any inconvenience, though I . . . doubt this will rock anyone's existence. Thanks again!)

I publish my blogs as follows:
Sundays: Movie reviews at moviesmartinwolt.blogspot.com
Mondays: Short stories at martinwolt.blogspot.com
Tuesdays: A look at the politics of the entertainment world at EntertainmentMicroscope.blogspot.com.
Wednesdays: An inside look at my novels (such as Daughters of Darkwana, which you can now find on Kindle) at Darkwana.blogspot.com
Thursdays: Tips to improve your fiction at FictionFormula.blogspot.com