Ch 1 Blunders: Generic Settings

(Photo Credit: Popupology)
Don't leave the reader guessing about where the story takes place!
Last month, I received some fantastic feedback on the first quarter of my current MS. For this series of articles, I will draw from the remarks of my wonderful Beta readers and discussions I have had with other writers on these topics.
In some ways, I started my reader off in a generic setting. Here were three bloopers that I made in the first chapter...

• Genre can easily be established through setting details. A shoreline backed by imposing cliffs seems a distinctive setting but could appear in many different genres.  Add a dragon in the sky, a castle on top of the cliff, or a metal dome instead of sky, and you have swiftly taken advantage of genre -- and oriented the reader -- with very few words.
• Any old shoreline.  After (or while) you've established genre, show what makes this shoreline into this shoreline and not another in your world. One way to do this is to use landmarks personally important to the reader. Have the dragon circle her home, the castle belong to her brother, the shoreline is the only shoreline in the space station.
• Missed opportunities: Okay, I did not do this in this book -- but I have in others! How does the shoreline play into other elements of the story? It may be a recurrent setting, a symbol for the edge of two choices the heroine must make, set the mood, and so forth.

DISCLAIMER: This was feedback for one author's MS and should not be taken as all-or-nothing advice for all stories.

Ch 1 Blunders: Floating Characters

(Photo Credit: Pinterest)
Don't leave your characters to float in a vacuum!
Last month, I received some fantastic feedback on the first quarter of my current MS. For this series of articles, I will draw from the remarks of my wonderful Beta readers and discussions I have had with other writers on these topics.
In some ways, I did not ground my characters. Here were three bloopers that I made in the first chapter...

• Setting: Ground your character in physical surroundings either immediately or almost immediately. This can be tricky if you start with dialogue or thoughts but if you do not physically ground your character then you risk confusing the reader and/or making the action (verbal or otherwise) less immediate.
• Mood: Think about the mood of your story (comic, dark, sensual, etc.) and make sure your character introduction is permeated by this mood. This may mean going back and rewriting your hook from scratch or taking the already-written hook and changing the angle.
• Genre: Okay, I did not use on in this book -- but I have in others! It is important to establish your genre (and preferably your subgenere) in the first few pages. The reader who picked up your book typically expects a certain genre but don't leave the reader guessing. Show her that she chose the right book and the right character to meet her fantasy/romance/suspense desires.

DISCLAIMER: This was feedback for one author's MS and should not be taken as all-or-nothing advice for all stories.

Flash Fiction: Middle

A possible benefit of flash fiction is that the middle is so short. Many people struggle with middles although for me the most difficult part is cutting my middles down to size. Flash fiction emphasizes techniques that can help me do this. But if you are the type who writes your middles too short, then flash fiction middles may be easy for you.

Off Camera Flash (Photo credit: nickwheeleroz)

• Inference: One way to cut down on words is to refer to well known events, people, or legends. Saying that a character is shaped like Marilyn Monroe saves a lot of words, as does simply saying “we were under old maritime law”, or “his life suddenly seemed a modern-day Hamlet”.
• Telling: A key phrase in the last point was “simply saying”. The flash fiction I have looked at so contains more “tellling” than I expected. This might be because “showing” takes more words. This is one technique that is frowned on in longer fiction but the conventions seem different in this medium.
• Obstacle: Most flash fiction I read only had one major obstacle. In long fiction, I can usually find three major complications or obstacles. Since there is only one obstacle, it is – of course – the major obstacle and needs to really count.
• Uncertainty: One way to save words is to not resolve or explain everything. This has the added benefit of keeping the reader reading to find the answers to the unanswered questions.

Flash Fiction: Opening

Okay. As part of my learning about flash fiction, I've decided to break down the short structure into its opening, middle, and end. While some of the advice will be true for any story, some is especially important for word-limited format.

• Character: Set up in two sentences. At least one of these sentences should be an active description. What is an “active” description? Other than it not being passive or static, the description should achieve more than one task at a time – which tasks are up to you.
• Setting: Start with a powerful, evocative image. For instance: a sunset can mean an ending, the coming of darkness, give unusual color to the story, is easily visualized, sets a time limit.
• Back-story: If you need a preamble, set it down in the first paragraph (not paragraphs). Become a master of the implication and unsaid. This will let you fit in more world building, back-story, and description.
• Story: If you have a large issue, break it down. Take small pieces of it. Start in the middle of things. This is true of all books and poems but flash fiction takes the process of breaking down almost to its most basic level. One conflict is probably all the room you will find.

Flash Fiction: Middles

Off Camera Flash (Photo credit: nickwheeleroz)

A possible benefit of flash fiction is that the middle is so short. Many people struggle with middles although for me the most difficult part is cutting my middles down to size. Flash fiction emphasizes techniques that can help me do this. But if you are the type who writes your middles too short, then flash fiction middles may be easy for you.

• Inference: One way to cut down on words is to refer to well known events, people, or legends. Saying that a character is shaped like Marilyn Monroe saves a lot of words, as does simply saying “we were under old maritime law”, or “his life suddenly seemed a modern-day Hamlet”.
• Telling: A key phrase in the last point was “simply saying”. The flash fiction I have looked at so contains more “tellling” than I expected. This might be because “showing” takes more words. This is one technique that is frowned on in longer fiction but the conventions seem different in this medium.
• Obstacle: Most flash fiction I read only had one major obstacle. In long fiction, I can usually find three major complications or obstacles. Since there is only one obstacle, it is – of course – the major obstacle and needs to really count.
• Uncertainty: One way to save words is to not resolve or explain everything. This has the added benefit of keeping the reader reading to find the answers to the unanswered questions.

Flash Fiction: Opening

(Photo credit: Wikipedia)

Okay. As part of my learning about flash fiction, I've decided to break down the short structure into its opening, middle, and end. While some of the advice will be true for any story, some is especially important for word-limited format.

• Character: Set up in two sentences. At least one of these sentences should be an active description. What is an “active” description? Other than it not being passive or static, the description should achieve more than one task at a time – which tasks are up to you.
• Setting: Start with a powerful, evocative image. For instance: a sunset can mean an ending, the coming of darkness, give unusual color to the story, is easily visualized, sets a time limit.
• Back-story: If you need a preamble, set it down in the first paragraph (not paragraphs). Become a master of the implication and unsaid. This will let you fit in more world building, back-story, and description.
• Story: If you have a large issue, break it down. Take small pieces of it. Start in the middle of things. This is true of all books and poems but flash fiction takes the process of breaking down almost to its most basic level. One conflict is probably all the room you will find.

Setting: Bind the Diamond to the Ring

(Photo credit: Wikipedia)

So you have your characters and your plot. Your characters are are multi-faceted, they are clear to the reader. Your plot is well-planned and connects seamlessly. Both have been polished to a sparkle and a shine. But the two won't fit together without a little help. The characters need a setting to join them with the plot. Just as with a diamond ring, setting joins the two elements into a whole.

Setting is more than just a place to stand. Just as the setting affects the final appearance of the diamond, setting also affects character. Your setting may be flashy or unobtrusive but it helps define your character's shape and limits. Your setting shows off your character. Your character shows off your setting.

As with a ring, the setting in a book is often the weakest point. It is easy to skimp on materials when creating your setting but if you do this, your project may not hold up in the long-term. A solution is to take just as much care with your setting as you do with your characters and your plot. The readers of your book will thank you.