1) Finish the manuscript!
So many people have good ideas and the ability to write, but
never finish a single effort. They might get started and lose
interest. They might get a long way into it, become insecure about
the beginning and go back continuously to re-write. Others have
so many ideas floating at once, that it's hard to stick to one
project. I know people who lose confidence just as they approach
the final chapters! But discipline is the most important thing
for a writer to master. Even if you are certain that the final
product won't be worth the paper it's written on, complete the
project. The experience of writing a story from beginning to end
will help you with your next effort. No writing is ever wasted,
even if you never use the scenes for a manuscript you market to
publishers. Finish!
2) To outline or not to outline!
I work from a basic outline so I don't lose my way. Some people
don't use any outline at all, but I think they are either experienced
writers or exceptional in their ability to recall where the story
is heading every minute. In my case, I often get into a manuscript
a few chapters and then forget what's supposed to happen next!
I look at my outline to remind me of what I originally had in
mind. This helps when trying to abide by tip 1, above.
3) Plots must be logical!
Besides being interesting, your plot must make sense. Everything
that happens needs to have a reason (action and reaction). People
need to be sufficiently motivated. Ask yourself repeatedly 'why?'
Why did she do this? Why did this action result in what happens
next? It might also be helpful to ask yourself whether other people
would believe everything that occurs. Run your idea past someone
who understands plotting. Creating a logical plot might be easier
if you write an outline (see tip 2).
4) Strong, varied sentences!
But they don't have to follow the rules all the time (i.e., "never
begin a sentence with 'and' or 'but'). Or be complete. Flexibility
is especially necessary in dialogue.
Corollary: Make sure that when you break rules, you know
you're doing so and you can articulate why you've done it. For
example, there's no excuse for bad grammar that isn't called for
because of a character's personality or speech/thought patterns
(or because of some other purpose the grammar error serves).
So, what's a strong sentence? Beware of 'was' and softer verbs.
The sentence "She was quickly walking along the street."
is not as good as "She strode down the street." Although
many great writers do not use one, I find a thesaurus invaluable.
I have an international one sitting beside me during all writing
sessions. Search for those strong verbs that are eager to spark
up your scene. Strong verbs don't need modifiers.
So, what's meant by varied sentences?
The following are not varied: "He strode forward.
He drew her suddenly against his chest. He gazed into her eyes
and felt passion surge. He lowered his head slowly. He kissed
her full on the mouth."
The following are varied: "He strode forward. Suddenly,
he drew her against his chest. Passion surged as he gazed into
her eyes. Slowly lowering his head, he kissed her full on the
mouth."
5) Lights, camera, ACTION!
Action is important in every story, even romance. Things must
happen. If they don't, you will lose your reader very quickly.
As you write, ask yourself "what happens next?" Good
stories often move from one action-packed scene to another. This
is not to say that we need gun shots and car chases in every scene.
But each scene needs to move the plot forward. If the scene doesn't
do that, it's one that probably isn't worth writing.
6) Word weaving!
Every story needs to deliver information so that the reader will
understand what's going on or what the motivations of the characters
might be. But remember Mark Twain's "Always tell the truth,
but don't always be telling it!" You should always give the
necessary information, but not all the time or all at once! Weave
the information in with the action throughout the story. Avoid
'information dumps.' Readers often skip these anyway, then they
miss important information and don't understand the story as well.
Information dump: Gary Witty was thirty two years old
and knew he had learned no social skills while growing up in Wisconsin
where his nearest neighbor lived three miles away. His mother
had died when he was ten and hadn't had time to teach him. His
father couldn't teach him - grief over the loss of his wife had
made the elder Witty taciturn. Although he loved his son, his
fatherly expressions of affection were limited to occasional pats
on the back and grunts of approval. So, what chance did Gary have
to make an impression on the pretty woman, with whom Gary had
begun a blind date? The prospect of failure made him as silent
as his father had always been. Now he couldn't even remember the
woman's name.
What bits of information in the paragraph above are necessary
to the action of the moment and which pieces could be told earlier
or later? Of course, it depends upon the story. But here's one
possibility:
Word weaving: Gary Witty shifted from foot to foot, painfully
aware of the pretty woman standing beside him. He'd only just
met her, but already he knew the evening would be embarrassing
for them both. Like his father, he had no social skills whatsoever.
None at all. At thirty two years old, Gary doubted he would develop
any such skills in time to save this blind date from disaster.
But he had to try. Familiar palm-sweating, stomach-clenching dread
suffused him as he opened his mouth to speak. But when he turned
to face her, he realized he'd forgotten her name.
