Character, plot, and place are intertwined elements good writers use artfully. Sometimes the place is fictional (for example, Kent Haruf’s Holt, Colorado), or real (Naples, the backdrop of a quartet of Elena Ferrante’s novels), or disguised (Oxford disguised as Christminster by Thomas Hardy).
The Importance of the Setting
The setting imbues the story with the environment’s mood. It layers the tale with meaning about the passage of time, stages of life, constraints felt by the character, and/or as a source motivating the characters’ actions.
Undisguised Real Locations
Stories set in a familiar place help the tale appear more real for the readers. The reader becomes absorbed in a fictional story that seems real because it is set in identifiable locations. These locations change over time and are not boringly static backdrops of the unfolding plot.
Elena Ferrante, who chooses to remain anonymous, picked gritty Naples for her stories of the enduring friendship of two girls who grew up in Rione Luzzatti, a poor neighborhood slum of Naples. Naples has a certain reputation because it is home to the autonomous local mafia clans, collectively known as the Camorra.
Ferrante’s quartet of Neapolitan novels have other real settings that the characters visit (Milan, and the island of Ischia), stay in (Pisa), and live in (Florence and Turin) as they mature.
Negative, factually incorrect descriptions are vulnerable to litigation. Writers can protect themselves by including disclaimers that their creation is a work of fiction, and any real locations, organizations, and businesses described in it are fictionalized depictions by the author.
Disguised Real Locations
Real locations set in a region where the fictional town is located add touches of authenticity that encourage readers to identify with the characters in the story. Readers who recognize the real place disguised by the author develop an intimacy with the unfolding tale. Also, anonymity wards off litigation.
The Freedom of Fictional Locations
Unrecognizable places can be anywhere, but world-building requires work. Fictional locations can be as varied as J.K. Rowling’s Hogwarts and Kent Haruf’s fictional Holt, Colorado. One is more realistic than the other, but Rowling’s fiction is fantasy and Haruf’s is more realistic.
Haruf’s fictional town of Holt seems to capture life in the plains of eastern Colorado, where the author grew up. Holt, Colorado functions like Thomas Hardy’s Wessex – an imaginary place based on a real region that the writers were familiar with. However, Haruf claimed his stories could be anyplace. His characters’ experiences were not limited to a particular location or region.
There’s no superior choice of setting. Whether the location is identifiable, disguised, or fictional, the creative details depicted in each context draw the reader further into the world created by the writer.
For writers who grew up or lived in small towns, writing about them comes easily because that life is so familiar to them. Unlike large cities with many service providers, small towns demand more of local residents, who need to become handy at doing things because the service is either not nearby or not easily available. Small towns also are fascinating settings for other reasons.
Readers Can Picture the Setting
A ready-made setting springs up in readers’ minds when a small town is depicted as the background of the story. Their imaginations can work overtime with a few hints to fuel the pictures they have created in their minds.
Appear Quiet, Slow Paced, and Intimate
The pace of small towns does not appear to be stressed and busy like “big city” life, although work life is often hard and demanding. Local folk appear more relaxed, with time on their hands to do quirky things that writers can use to engage their readers.
Small towns have less anonymity. They can be more personal. The environment does not favor privacy because people gossip and are curious about what other townspeople are doing.
Small Town Values Make for Good Drama/Conflicts/Contradictions
Appearances can be deceptive. Under the surface of pleasant small-town life can be a bubbling cauldron of passions, enmities, feuds, and even small animosities. Residents may have larger-than-life emotions: generosity, pettiness, jealousy, vengefulness, bitterness, or some other type of meanness as they appear to have more freedom to be themselves and engage more personally with others.
Towns can also have dull-witted, slow-to-respond characters that appear to reflect the ambience. Small-town moral, ethical, and cultural standards provide a good foil for character development and influences.
Good Backdrop for Subterfuge and Secrets
Lack of privacy offers writers opportunity to imagine characters harboring secrets that add spice to stories. In the less private environment of small-town settings, there are major potential repercussions if secrets become public knowledge and get passed around so “everyone” knows what is going on.
Less Receptive to Change, “Modern,” or Different Folk
The slow pace of small-town life lends itself to acceptance of the status quo and resistance to change. Newcomers are welcome, so long as they are not subversive. Blending in is expected because the confined setting is not conducive to ruffled feathers.
Small Towns Can be Insular, Claustrophobic, Limit Potential
The flip side of neighborliness is the constraining insularity. Career potential and education opportunities are limited. There is a reason why ambitious youth leave their hometowns. For writers, that environment offers potential material for intergenerational and/or interpersonal conflicts.
The small town can be a creation of the writer; for example, Kent Haruf’s Holt, Colorado is a fictional derivative of three towns. Sherwood Anderson’s “Winesburg, Ohio” is a reminder that small-town life has been inspiring American writers for a long time.
Compelling characters grab a reader’s attention and pull the reader into the story. In the best fiction, a reader becomes an interested observer, or at least feels as if he or she is part of the plot.
How do writers create characters? And, how do writers create characters who are so interesting that readers care enough to know what happens to them?
Interest in the Characters and Being Observant Helps
How a writer feels about the characters is part of the dynamic of writing interesting characters. In his Granta article, “The Making of a Writer,” Kent Haruf explained that, “To be more aware of others and to pay closer attention to what others around me are feeling… are good things if you are trying to learn how to write fiction about characters you care about and love.”
Writers like Eudora Welty and Jane Austen, who lived sheltered lives, were still able to write compelling characters with perceptive details about their society and the world in which they lived because they were observant about the people around them. Observing what motivates people provides writers with insight they can use in their work.
Creative Writing Courses Can Help
Writers can learn from workshops and writing courses how to create complex and compelling characters. Building characters to make them distinctive and credible can be learned. In creative writing courses exercises can help writers explore the facets and traits of characters that make them human and absorbing.
Watching movies to figure out how to build scenes, learning to write dialogue, and taking narrative classes that help writers learn how to craft longer stories that do not lose their momentum are among the skills that writers can learn.
The Distinctive Instructive Style of Writing Workshops
The workshop format generates progress through peer reviews. The University of Iowa’s Writers’ Workshop is recognized as the leader in this space. The university may have come naturally to this approach because of Midwestern farmers’ tradition of “neighboring.” Neighborliness was how small farmers supported each other by helping each other in farming chores. Writing is a lonely craft, but workshops help writers learn to refine their craft sociably.
Writer Kent Haruf went to great lengths to get admitted by the Iowa Writers’ Workshop. As he shared in his Granta article, the teaching methods in his time were more “descriptive” and less “prescriptive.” Experienced writers shared “what they thought worked in a story and what didn’t” and left it up to writers “to figure out how to fix it.”
Whether a reader’s attention stays with the story or the novel will depend on the writer’s skill in creating interesting, compelling characters, storylines, plots, and subplots.
Copyeditors face unique challenges when working with multiple clients and writers. Primarily, everyone has their own idea of what is right and acceptable, and clients will vary on what they expect in any given piece of work. Rules also tend to change with the times as traditional writing forms make way for modern artistic freedom in speech and writing. How fast do things change? Oxford English Dictionary editors estimate they add around 1,000 words per year. Wrap your spell-checker around that statistic!
Editing in Real Life
Thinking that editing class you took in college is the be-all and end-all of editing is where potentially great editors falter, and this can make or break a career. Classes are only the beginning, no matter how thick and unwieldy the dictionary and style manual were that you memorized. The best learning even an experienced editor will find is in real life situations, especially from writers willing to share their editing nightmares.
If you Google a phrase like “bad editor,” you will find more than 20,000 results telling you exactly what not to do, including a humorous definition from Urban Dictionary. Likely most of these “Don’ts” were born from writers fed up with their police-like editors ruining a good piece of writing by sticking hard and fast to old rules. As an editor, it is imperative to work with your writer rather than against them. Ultimately, you will end up learning a lot about yourself in the process.
When you are ready to get serious as an editor and you want to improve your skills in today’s terms, find some writers to talk with. Writers are everywhere, so it should be easy to find some with some interesting editing horror stories. Brace yourself for brutal honesty in their opinions of editors because this will shed light on how you can improve. Pay attention to how they fear and perceive editors and vow to do better.
Consider the Audience
Consider editing as a continuing education in the English language. Consider the audience your writer is writing for and what the readers expect as far as form and function. It is important to know that being on the cutting edge of linguistics is bad for business (you don’t want to be too different), but being able to flex your branches with differing needs and expectations will make you less of a “bad guy” and more of a partner.
Finally, seek out a mentor or team of mentors who will provide you uncensored advice on your copyediting techniques. The more people you ask opinions of, the more diverse your skills will become. This in turn will help you break free of stagnancy and allow you more room to grow in the career.
Flash fiction, or extremely brief works of fiction, has exploded in popularity over the past few years but has been around longer than many realize. In America, one can find examples of such micro-storytelling as early as the 1800s from authors including Kate Chopin and Walt Whitman. The popular magazine Cosmopolitan popularized these short forms by way of their “Short Short Story” section, and by the 1930s, anthologies of these shorts started to hit the printing presses.
Presently, numerous print literary journals are dedicated to flash fiction, including the Vestal Review and Flash: The International Short Short Story Magazine. The internet has
broken through the limitations of print publishing these short pieces and given audiences a means to instant satisfaction, both in writing and reading the short-form written works that feature short prose, snippets of high drama, and often open endings designed to leave the reader wondering, “What next?”
Often called “fast food for the mind,” flash fiction has jumped off the pages of obscure literary magazines and found a comfortable niche on the internet. Now everyone with an internet connection and some imagination is invited to try their hand at this not-so-new style. Some writers take flash to the extreme. Historically, although the story has seen a few versions from one telling to another, there is a tale of Ernest Hemingway winning a bet with his “For sale: baby shoes, never worn.”
In addition to the six-word-story challenge alluded to above, folks have come up with other now commonly accepted subsets for flash fiction. Included in these powerful little subs are:
- 140-character stories called “Twitterature”
- 50-word “Dribbles”
- 100-word “Drabbles”
- 750-word “Sudden Fiction”
While there is no hard and fast rule for an actual word limit to any flash fiction story, audiences will agree on “the shorter, the better.” The internet is, after all, the go-to source for bite-sized information and entertainment. Because of this, flash fiction naturally took over a corner of the web. Not only has the internet been the impetus for enhanced awareness of the style, it has blatantly influenced its popularity. We now see online journals dedicated solely to this uniquely satisfying writing style.
New online journals crop up weekly, bringing us new flash fiction to consume. With every new voice on the web, the style continues to evolve and new rules are written. Keeping in form means flash writers take existing forms and redefine them. As long as the many forms of flash fiction remain nebulous, audiences will remain interested.
Writers may at times find themselves stuck for a new angle on an existing project or at a loss for new topics to explore. When this happens, writing becomes frustrating, and that puts a damper on creating new material. If you are a writer, consider how your immediate surroundings affect you. Do the “same four walls” often make your writing as drab as your office? Does your personal writing drone on about the same topic night after night? If so, it is time for a change.
Professional spaces are often highly limited in how they can be personalized. In a creatively stifled office situation, it often helps to invest a small amount of money into personal writing effects like fountain pens, colored pens, and higher-end notebooks or sketch books. Taking notes with different tools helps pull a bored office worker out of the mundane and makes business writing sound better. It is also easier to work when you are happy. E-mails and memos will sound much more alive, catching more interest.
Personal writing spaces offer a lot more freedom when it comes to how they can be decorated. Writers with their own writing rooms can experiment with color, sounds, and scents to wake up the right hemisphere of their brains. If painting the walls with inspiring colors (usually oranges, blues, and greens) is too much of a task, walls can be covered with colorful tapestries or even embellished bed sheets and photo frames. Background music helps some and hinders others, so try a few things until you find a happy place.
Of course, some writers may engage in work that requires both professionalism and extreme creativity. These are the lucky ones! Marketing and advertising are two such careers where a certain amount of artistic freedom is rewarded with bigger paychecks and better contracts. In these instances, such writers are encouraged to make their work spaces (desks, offices, studios) a reflection of their creative vision, places that never stop inspiring their work.
No matter the type of writing you do, whether personal or business, if you ever feel stuck for new ideas, try changing up your surroundings. Something as simple as sitting in a new park if you work primarily indoors, or writing in a museum cafe or anywhere else you do not usually go, can provide the boost needed to start creating again.
Many writers have churned out quality novels in just a month, and while it will not happen every time, this guide will help you achieve your first draft with ease. The best way to achieve a 30-day novel is to write on a subject you are familiar with. This way the words will come easier, and you will find your fingers flying through pages at record speed. In a way, this project will use a lot of free-writing, where you will stifle your inner editor and only worry about volume at first.
Preparing for the Journey
The most important thing to do is be prepared for what you are about to undertake. This includes having an idea of what you want your story to encompass. If you are an avid science fiction reader, go with a science fiction novel or likewise if you are into romance, drama, historical fiction, or any other genre. You will also need an idea of the setting, the main characters, and the plot.
Before you begin your novel, take a few notes. The basic outline does not need to be more than one page, as your story will develop as you write it to the extent that the ending may surprise even you. Make note of the general idea of your story, some character names, and some plot twists. This will give you something to refer to as you write and will keep your writing on track.
Budgeting Your Time
This is probably the most difficult part of the 30-day novel project because we all have busy lives and things happen to keep us from our writing goals. This is where you need to get a little serious and actually commit time every day if possible to writing. What length do you want your novel to be? The average easy read is around 50,000 to 80,000 words. To start easy, try 50,000 words. In 30 days, this means just under 1700 words a day, or about three and a half pages if you are typing single-spaced.
Three and a half pages sounds completely achievable, does it not? If you are free-writing, this should only take about an hour and a half or less if you are on a roll. If it is not possible for you to commit one to two hours a day to writing, due to other commitments for example, break down your time into what will work for you. If you can only write six days a week, aim for 2,000 words a day, or about four pages.
The Easy Part – Start Writing
Now that you have the basics down, it is time to get to work and start creating a fantastic read in much less time than you imagined. If you truly get stuck and need outside support, online groups are available to help. The best-known is NaNoWriMo (which stands for National Novel Writing Month). The group is most active in the fall, as it holds a writing event every November. You can, however, find support year-round from other writers and editors.
Self-publishing is difficult for authors who have already spent their valuable time writing their book and do not have the time for or experience in performing all the other tasks involved before going to print. Self-publishing companies like Lulu and BookBaby provide services including cover design, editing, and print-on-demand publishing. The author, in return, is responsible for registering the copyright and ISBN, production management, and marketing.
When authors are their own publishers under this avenue, they also have more control over the final price of the book, which is a major selling point to prospective readers. The self-publishing company will usually help the author determine a price for the book by providing a calculator for printing options and publisher commissions. This allows the author to see plainly what their portion of the profits will be for each book sold.
Vanity publishing, also called subsidy publishing, differs from self-publishing in that the author assumes all the risk and pays the publisher. This is counterproductive to authors trying to make money on their books. While vanity presses do offer services like cover design and editing, there is a major catch. Once a manuscript is published by a subsidy, it becomes their property, right down to the ISBN number. The author forfeits all rights to the book once it appears in the publisher’s catalog.
Different from both of these types of publishing options are traditional publishers. These are companies that actually invest their money and resources (like marketing and printing) into the promise that books will sell. They purchase rights to manuscripts and pay royalties to authors, often offering advances prior to publishing. Traditional publishers are where the money is, but they are also the most difficult to work with, especially for unknown authors who present a greater risk to the publisher.
Knowing the differences between the different publishing avenues available can make or (financially) break an author. By doing research into prospective publishing routes and companies, authors will find more success and fewer headaches in trying to make their works available to their intended audience.
While great science fiction deserves a great plot, another element to writing in this genre can be just as tricky to weave in. The setting of a science fiction story is the real foundation of the piece. Writers can touch on a range of human emotions in a well-crafted setting and utilize them to build strong characters and plot lines. This is why many readers turn to fantastical novels over other types of fiction like drama or romance. Good sci-fi has the power to bring readers to entirely new worlds.
By creating fictional worlds rich with imagery, emotion, and culture, writers allow readers to escape the mundane “real world,” the one they trudge through every day, and enter a new realm. They can forget their everyday worries and cares by departing from reality and immersing themselves in the microcosm of your story. In this genre, the setting is less of a backdrop and more of an element directly related to the way every action plays out.
Playing with the Senses
Human culture relies primarily on visual stimuli to understand the surrounding world. In remembering this, the writer should focus on creating a story backdrop that is rich in visual cues and vibrant enough to see through words alone. With the right choice of descriptors the writer can spur the reader into seeing precisely what the writer means to suggest.
Fiction writers can stoke the reader’s emotions with landscape as well as with straightforward actions. Both aspects can combine into powerful storytelling that will leave readers craving more. Settings can inspire every emotion, whether through the soothing, entrancing low hum of a magnetic engine or the rush of racing through dangerously narrow canyon walls saddled to the back of a Roc at the break of a second-sun rising.
Further, authors can add dimension to their settings by adding environmental sounds to their setting descriptions, for example, by describing the crackling hiss of a comet as it races precariously close to the thin atmosphere, or the crystalline tinkling of moisture dripping upward from the bottom of a pristine cave floor. There are endless ways to manipulate the readers’ senses, providing a captivating setting for any scene.
Beyond describing the physical setting, the sci-fi writer should be aware that the meta-setting plays an important role in supporting the fictional environment. As in real life, the cultures and personalities around us shape the way readers see the world. Characters therefore should present viewpoints and actions that complement the physical setting of the scene. A simple example of this is where a hot, dry environment would naturally produce short tempers and the survivalist’s mentality in a character.
Remember in writing fiction, all elements of the story must provide a strong foundation as well as continuity to hold it together. By creating settings that incorporate compelling visuals and truly immersive worlds with characters to support them, science fiction writers will create enduring works worth buying, reading, and sharing.
No matter what purpose your writing serves, whether fiction or prose, speech writing or business writing, the words you serve to your audience need to make a powerful impression if they are to be remembered. There are four key aspects to storytelling that should be included to motivate your audience and inspire them to pay attention. Learning to incorporate all these elements will make your writing stand out and easier to remember.
If you dissect any story, you will find that it is driven by a degree of conflict. Conflict refers to any challenge that needs to be overcome in order to reach a goal. A fictional example would be a character forced to decide between two things he or she wants. A business conflict may involve a competitor trying to undermine your company by underpricing their product or someone leaking proprietary information. Presenting challenges clearly sets the basis for your story.
When your conflict must be faced head-on to achieve a goal, be it love, wealth, or whatever else applies, this brings on the transformation. Your main character would choose love over money and find true happiness. Your company would hire an investigator to discover who leaked your company’s client list to a competitor. Transformation has many faces, including physical, emotional, and financial. It is the moment of change that gets your story where you want it to be.
Make it Authentic
To stand out and keep your audience’s attention, your writing needs to be authentic. Authenticity means you do not want your work to sound like someone else’s. Worse, you do not want it to sound generic. Even fantasy can be authentic. The idea is to create something that your audience can relate to, even if metaphorically. Once your story incorporates this aspect, you will connect with your audience and they will find relevance in your words. It should speak to their needs and emotions.
Add Some Magic
Magic can be achieved in a number of ways, and it does not have to be fantastical or unrealistic. Think of your main character as having some sort of flaw or quirk which acts as the impetus for attracting their true love. For your business, imagine that investigator your firm hires has an uncanny way of finding information no one else could through secret sources or simply intuition. He will be the wizard who magically saves the company.
All these elements weave together to create memorable stories, both real and fictitious. Conflict makes readers or listeners crave knowing what happens next. Transformation makes them say, “Yes, that’s how it should go!” Authenticity provides real-enough situations that people can relate to and apply in their active listening. Finally, magic brings it all together in an ending they may have never seen coming. Together, these key storytelling aspects will make even the most mundane stories memorable.