Writing 101: This is How We Emphasize

In real life, people commonly shout when speaking with great passion. Sometimes in real dialogue, people stress certain words or phrases without raising their voices. This is how we emphasize when speaking. Now, you need to master the art of emphasizing words when you're writing. There is a standard that authors use. Learn it to be one of them.

What We're Yelling About

There are a lot of different ways to use writing to show emphasis on a particular word or phrase. Sometimes, a simple exclamation point is enough. 

"Wow! I didn't know Johnny had a power boat!" 

Clearly, the person speaking is doing so with a great deal of enthusiasm. One can infer that they're speaking rather loudly and with some emphasis, because of the exclamation points at the end of each thought. There are other ways to show passion in dialogue. 

"She said what about my hair?"

The emphasis on the word what shows that the speaker has put emphasis on this word, saying it more strongly than others. This clearly displays emotion -- perhaps dismay, anger or surprise. Without the emphasis, the question becomes curious instead of passionate:

"She said what about my hair?"

And then there are times when people shout -- loudly. To show this, many writers use all caps to put emphasis on the words.

"I told you to GET OUT OF HERE." 

The speaker begins to shout when they repeat their instruction. Using all caps is a very effective way to convey a shout, and this is commonly what's used to express shouting, but you don't want to over-do it. All capital letters is very distracting; it pulls the eye and that takes away from all the rest of your words. Use this only in moderation. Stick to italics and exclamation points to show emphasis in situations when an extremely loud shout is not needed nor appropriate.

When it comes to using bold to put emphasis words, just don't do it. This is not the standard in writing. Bold text is used only for headlines and subject lines. In everyday dialogue, bold text just has no place whatsoever.

Swept Away with Justice

"A tornado of chaos with crosswinds of lies and deceit."

Justice (Deck of Lies, #1) has been reviewed at the Coffee Pot. Read it to find out what the reviewer didn't like about the story...and what they did!

Writing 101: Story Within a Story

Writing a story within a story is one of the most common literary techniques, and used so often you may fail to notice every time it's happening. Character dreams and remembrances can be a story within a story, though in the most traditional sense when this device is used you'll be following two different plots. Either way, it's a risky writing move. When it's done well, it can be great. When it's done poorly, readers end up hating both stories. 

A Tale of Two Stories

If you read novels regularly, the story-within-a-story scenario is pretty much unavoidable. It's going to crop up in the form of diary entries, newspaper articles, perhaps a book the character is reading. To name just a few of the authors who have used this technique, I present Chaucer, J.R.R. Tolkien , Edgar Allen Poe, J.K. Rowling and Herman Melville.

At times, the story-within-a-story technique is done remarkably well. Fried Green Tomatoes has two separate plots that unfold together, though one takes place many years before the other. Each story is interesting and engaging, and each has characters that are worth reading about.

But I've also seen it done very badly indeed, and I'm not going to name any specific examples. I have noticed certain elements at play where the story-within-a-story is concerned, however, and many of the same elements are always in play when I absolutely hate it. 

• Suddenly, from nowhere: If the reader gets past the middle of the book and suddenly a very long story-within-a-story appears, this is annoying. It unexpectedly interrupts the flow of the main story, and this is where the focus ought to be as the reader nears the conclusion of the story. If you must insert an extra story here, keep it brief. 
• Weirdly unrelated: If the story-within-a-story has pretty much nothing whatsoever to do with the main plot, I'm going to be spending the entire time wondering why the heck I'm wasting my time. Chances are good that I'll simply put down the book. 
• Brand-new style: It becomes off-putting if the story-within-the-story is told in a very different voice with language that reads differently than the rest of the book. The story may be told by another narrator and I get that, but it still takes away from the overall cohesiveness of the book. Remember that every novel should read as a whole, and that includes all the stories within the story.

If you're telling a story within a story, make sure that story has an important purpose. Otherwise, you're wasting the reader's time...and they'll end up hating all your stories.

Writing 101: The Evil Villain

If every story has a hero, logic follows that it must also have a villain. In writing, we call this character the antagonist. But because we are writers, we are able to make our villains as unique as we like. Your antagonist doesn't have to be evil or frightening. Hell, write it a certain way and it doesn't even need to be human. 

Evil and Good

Your main character is your protagonist, and in any good story there will be plenty of conflict to keep your hero from their ultimate goal. Perhaps they want to gain someone's love, overcome some problem, solve a mystery -- whatever it is they want to do. Something is going to stand in the way of this goal. That something is the antagonist, or the villain of your story. 

In some cases, the villain will manifest itself as another character in the story. Perhaps it's a rival love interest, or a detective who is also working on the case your character wants to solve, or even the criminal themselves. Some stories have more than one villain whom the hero must vanquish before achieving their goal (or failing). 

When the villain is another character, the writing isn't as cut and dry as it seems. Some writers like to make villains sympathetic by giving them some admirable qualities or likable traits. This sets up a conflict in the reader that creates more tension. In other stories, the villain may be purely evil and unlikable (Voldemort is one example). When this villain is also seemingly unbeatable, this can also create a lot of tension and drama. Tension is the key to creating conflict, and another character is a great way to introduce it into the story. 

But, you don't have to use another character as your villain. There are many creative ways to introduce anatogism into the story without creating villainous characters. The weather may conspire against your character, or an automobile. A car that breaks down at a critical moment can be an evil thing in any story. Sheer bad luck may be what plagues your character, or perhaps a physical limitation is their main antagonist. In some stories the villain is an animal, like a fearsome dog or a crafty cat. An entity or non-human creature also makes a handy villain. A terrible memory or some hang-up that your character has can also become a villain, setting up an inner conflict. 

There are many different ways to introduce "evil" into your story. When it comes to the antagonist of your stories, think outside the box. Devote as much time to the antagonist as you do to the protagonist, and you'll create lots of rich drama.

Writing 101: Mary Sue

I was asked and interview question that brought this character to mind, but I've thought about her a lot. The interviewer asked me how I avoid writing a Mary Sue character. I told her I'm not sure that I do, because that's the truth. Sometimes she sneaks in...whether we realize it or not.

Mary Who? 

Mary Sue a literary term named after an actual character that appeared in some 70s-era Star Trek fan fiction. I'm a huge fan of all pre-JJ Abrams Trek, so I have no problem with sweet little Mary Sue. In the original story, she was a very young and yet amazingly adept officer who had adventures in which she invariably saved the day. Now, a certain type of character is known as a Mary Sue, and she's not always female. Many have likened another Star Trek character, Wesley Crusher, to a Mary Sue.

Generally speaking, a Mary Sue character is there in place of the author. She's quite normal or very young, yet somehow has amassed an amazing amount of skills that allow her to come up with solutions to problems in the nick of time. She is well-liked by others, particularly her superiors, and becomes integral to the plot. She rarely, if ever, does anything wrong and she usually doesn't fail.

It's a broad definition, and that's because the term is very broadly applied. Mary Sue has many variations, including Marty Stu and Einstein Sue. The term is so widely used, in fact, that many authors are terrified of adding a Mary Sue to their stories. Critics will verbally lambast writers whom they believe have created this type of character.

But I think Mary Sue is actually in every story, and I'm going to tell you why. At its broadest, the term applies to a character the represents the author. I propose that all main characters represent their authors, at least in part. How else could the author create the three-dimensional main character that feels real to the audience?

So don't be afraid of creating a Mary Sue. Embrace it instead. Don't ever write for critics, or for fear of them. Write for yourself...and then Mary's going to end up sneaking in anyway, so go ahead and welcome her.

Writing 101: Teasing The Reader

Foreshadowing, hint-dropping, a little tease here and there -- these are time-honored literary techniques that keep the reader hooked and wanting more. But you can get to a point where you've just pushed the reader too far. If you tease, and tease, and tease, even when you deliver you won't get the reaction you wanted.

Looking Into the Future

Foreshadowing is a fancy literary term for hint-dropping. When you allude to the reader that something is about to happen, or if you say so outright (which is generally what I do in my writing), you're foreshadowing. You are, essentially, dropping teasers about upcoming chapters of the book. And like any good literary technique, it can be over-done.

In other words, you can't drop too many hints. I read a book, once, with a main character had a very extensive backstory. Now, this is not unusual. The fact that the author teased this backstory, without revealing it, and for a good 80 percent of the book, was unusual. And frankly, I no longer cared about the backstory when it was revealed in very anticlimactic fashion. 

Ever pulled on a dryer sheet? It's resilient up to a point. You can pull it, and stretch it, but only so far. Keep pulling, and it will rip in two. The patience of your readers is a dryer sheet. You can pull and stretch, but only a little. Take it too far, and their patience is going to snap. They're going to stop caring, and that's not where you want your readers to be. 

Tease once, and you're building anticipation. Tease twice, and you're drawing out the suspense. Keep doing it, and you're playing with fire. Like all literary techniques, foreshadowing should be used in moderation. When writing, please remember to tease responsibly. 

Writing 101: Acts of God

When insurance companies use it, they've got a great excuse. When writers use it, they're called lazy. But the deus ex machina, known in some circles as acts of God, can be a viable plot twist...especially when all other possibilities have been exhausted. Snub this literary technique if you will, but it's been used by some of the greats -- everybody from H.G. Wells to J.K. Rowling.

Here Comes the Calvary

We've all reached that point in a story, whether it's one we're reading or one we're telling, when it seems that all hope is lost. When the situation seems so dire, it's impossible to see any light at the end of the tunnel. When that happens, the writer has a few different options for untangling the mess. 

The most controversial is arguably the deus ex machina. Loosely translating the Latin, this actually means "act of God." Through this technique, a heretofore unexpected event is suddenly thrust into the story from out of nowhere to solve or resolve a situation which was completely unresolvable only moments before. Picture this to get the general idea: A tense 60-minute chase has led us here, the Two Tails saloon. Hammerface McGee and his band of local rowdies is on one side of the bar, Sherriff Bullitt O'Neal is on the other with his trusty deputies and of course, Ramblin' Nell. It's a standoff, with everyone's gun pointed at everyone else. Nothing is moving in the room except the sweat on Hammerface's forehead. And somewhere, a clock is ticking away the tense seconds. There's only one way out of this: start shooting. And this is just what Bullitt is about to do...when suddenly, the bottles behind the bar begin to tremble. A glass totters along the top of the bar and falls to the ground. The entire room is shaking. Earthquake! Everyone dives for cover, and the standoff scatters. 

This is an act of God, and many critics complain that it's a lazy writing technique. They argue that such interventions are unlikely. The officer who shows up to rescue the children in Lord of the Flies, the eagle that appears at the end of Lord of the Rings, the resolution of Jacob's feelings for Bella in the final Twilight book -- all are deus ex machina. Critics can call it lazy if they like, but this is one of the oldest plot devices known to writing. It originated with the Greek writers, who needed big moments with which to end their plays. The sudden and unexpected intervention was as good a choice as any, and still is. When used the right way, this plot device (like any other) can be quite satisfactory and believable (I can't fault it in Lord of the Flies). At other times, it's a bit silly (Stephen King wrote that the Hand of God detonated a nuclear warhead in The Stand, and this is not a joke).

But when something comes out of nowhere, it's bound to draw a certain amount of criticism. The beauty of writing a book is that you can always go back and change something. If you've written yourself into a tense situation, come up with a believable way out and link it to something that previously happened. If someone is going to suddenly appear and save the day, write a scene in which that character specifically references the place where he or she will later appear. Bury it if you like, make it hard to find and impossible to remember, but add it in. 

Because there's nothing wrong with an old-fashioned dues ex machina every once in a while, but don't rely on it. Always be willing to explore many literary techniques and write in different ways. As you get better and better at creative writing, you won't need to rely on acts of God.

Writing 101: Cutting Away

Some of the most dramatic moments in stories are abruptly halted, cut off in the middle. When the rest of the scene is finally revealed later in the story, it's pretty heady stuff. Cutting away can be a great writing technique to make any story more thrilling. But it can also be done too much, and poorly, in ways that will simply wreck your story. 

Scene, Interrupted

"There is no more need for questions, Inspector." The interruption halted the room, and all eyes turned to him. "I believe I know who killed Mr. Monroe." 

Two weeks before that fateful night, Phillip was in Tangier...

Cutting away from a scene at a pivotal moment has a number of different effects on a reader. It heightens the tension and draws out the suspense of the story, certainly, but it's also frustrating. When a reader is caught up in a scene and they feel themselves edging close to a conclusion that isn't delivered, it can be incredibly annoying. 

The secret of great writing is annoying your readers just enough to keep them reading. Cross the line and you'll alienate them. Readers give up on writers quickly, and for lots of reasons. If you fail to deliver, they have every right to put your book aside. The trick is to continue to make the reader bend, and bend, without breaking them. 

The crux of it is that you have to finish the scene, and don't wait too long about doing it. If you cut away from an important scene and then come back to it later, you have to make it satisfying. Be sure the scene delivers vital information to reward the reader for their patience. Do it well, and they'll reward you by continuing to read your work.