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This Instructional Begins Here On Page #1 - Click To Begin

By author Of Black Road 2012, a book about doomsday, 2012

 

Free Tips For Writers, Page 5

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Don't use a lot of punctuation or involved punctuation, it stops the reader's journey if s/he has to figure it all out before going on. Also, beware the deadly exclamation point. Use it only when the character is shouting!!!! And then, only once! There is nothing more revealing than a bunch of exclamation points.

Free tips and advice on words and structure in writing novels: You can cancel the need for big, bad, bright, bunches of braggart brazen adverbs and adjectives just by using stronger nouns. For instance:

 

"He raced viciously and vapidly through the room like hell in a hailstorm on wheels!"

                                 Or:

"He raced through the room like a sprinter."

 

Okay, so, I just had to make that up quick-like, no prizes expected, but you get the point, right?

 

Book On 2012

 

Always try to come up with stronger and more visual nouns that will give the reader a strong, clear picture of what you want them to see, and that will draw them along with you.

After all, this is a form of magic--to put your ideas and visions into somebody else's head. Think about that a moment.

Use the perfect word. Pick words that will project that picture. If it's not the right word, don't use it.

It's OK to consult the thesaurus. The one in MS Word is good, but it still pays to have a copy of a big ol' paper one like Webster's New World Thesaurus. Find the exact perfect word, it could be the smile in your Mona Lisa.

The fewer words the better. It telegraphs what you want to show.

If you get too involved with being brilliant and wordy, then you tangle the silver thread you've been weaving through the darkness of the reader's mind.

Do you want the reader to be impressed with your verbiage or do you want them drawn into your story, breathless with suspense, dying to turn the page. Your writing should enhance the work, not hinder it.

Don't go on and on for pages of description, and the same for dialogue. It's much more interesting to have both together, although some would argue dialogue is preferable, more immediate and involving to the mind of the reader. Stay away from long paragraphs of dialogue, keep it short and punchy, back and forth, like this:

• She answers his question. “The Americans with their silly ‘Flying Saucers,’ again.” 

  He sighs, “I find this irritating.” 

  “Yes," she says.

  He says, “It was easier before.” 

  “With your sanction, it will not be permitted," she says.

  He moves where she can see his face. He likes when she looks at him. “But, we don’t want to be impetuous,”  he says.

  She says, “The threat of impetuousness is no worse than that threat which is being presented.” 

  “A primitive threat,” he says. 

  “Yes, but nevertheless, a threat,” she replies, smoothes the dress over herself, likes the feel. 

  “I will use the Black Dragons,” she says. 

  He takes a long draw on the pipe, exhales, “No…No, we have friends in low places. Use the one they call, what is it—the ‘Martin-Pêcheur‘”

  She says, "The Kingfisher."

  "Yes," he says, "the Kingfisher—they beat their prey to death—and then rip it apart. I like that."

 

Try to end the chapter with something punchy, starting, or a hook into the next chapter. By using the closing remark from the man above, I (hopefully) make you wonder who he is, why he's like this, and why he would want someone beaten and torn apart. What will he do next?

Who's this Kingfisher? What's his part in this? Why and what is the Dragon Queen talking about, "flying saucers"?

Who are these people? What is the source of their power and wealth? What is the Black Dragon Society?

See? Always—constant—build interest, involvement, suspense, and movement, action, and goings-on.

We monkeys like that sort of thing ☺

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