K … is for Killing

K[1]

is for killing. I am talking here of ‘killing your darlings’ of course. It’s how we writers normally refer to reducing the cast in a story.

In either novel or short story writing, we find ourselves lavishing hours on the creation of well-rounded, believable characters, which is exactly how it should be. A novel will have the capacity to allow for a large cast, whereas a short story is best trimmed down to five or less characters.

Where the novel usually has a longer time scale, it is able to convey a larger number of characters. A short story, by its nature, is created to fit a short time frame, and there is therefore no facility for a cast of thousands. The fewer, the better is the advice in a short story.

Whatever I’m writing, I tend to create each character with a comprehensive profile, even though I may only use a little of the information if it’s a short story. In a novel, with a similar character, I might drip-feed small pieces of information throughout the story. Be it a novel or a short story, I invariably end up with more characters than I need to get the job done, so in that circumstance, I ‘kill my darlings’.

The phrase is borne of the fact that we get to know our creations so well that we are reluctant to remove them. We have grown to like them, to feel a relationship with them, but to be in a story, they must earn their place. If when editing a story, you find a character that doesn’t move the story forward; that character has to go. It’s heart-breaking, I know, but we must be realistic.

I’ve made peace with myself by having a parallel universe in my files. I have a file full of people, already invented, but not yet put to use. There is a pregnant woman in her 20’s, a retired policeman, an old war veteran, and many more. They all get along perfectly well in that file, but perhaps one day a couple of them will meet in other circumstances and things will not be so good.

What is today’s advice then?

Use as much care as always to create believable characters, but please remember, don’t shoe-horn a character into a story just because you like them. When you edit, you are looking for extra characters as well as extra punctuation, adjectives, adverbs and all the other things that should be removed. Happy hunting my murderous friends.

Thank you for reading. I’m off on my daily blog patrol now, and I’ll be back on Monday, with an ‘L’ of a word.

H … is for hook.

H[1]

is for hook.

What do I mean by a hook?

A hook will exist in a variety of writing, from articles, t0 poetry, short stories and novels. It is that magnetic word, or group of words, that grips the attention of a prospective reader or browser, and turns that person into a reader.

My own rule for short stories is to create a hook within the first 30 words. It may go over by one or two, but generally I manage to keep it pretty tight.

Example 1:  Opening lines of my short story, ‘Duty Bound’.

‘Gary felt pain throughout his body.  He opened his eyes and gasped.  A small monkey that had been studying him from six inches away shrieked, and scurried along the high branch.’ (31 words

Example 2:  Opening lines of my short story, ‘Mary had a little gun’.

‘Standing in the remote, disused warehouse; Mary stared through the broken windows.  Her tortured thoughts drifted back briefly, to life before she became a wife and mother.  She had been a different person then. (34 words

When writing a novel, I may not follow the template suggested by the ‘How to …’ books, but I do create a hook within the first 3 – 5 pages. I also create a hook early, and late in each chapter. In a novel, they are better described as cliff-hangers.

I tend not to give the solution to the cliff-hanger too early in the next chapter, preferring in some cases to keep it under wraps for maybe two chapters or more. Some solutions might be kept from the reader for longer, but I make sure the solutions are worthy of such a wait. The key thing is; they must exist to keep the reader going.

A good choice of title, cover, or both, might be enough to capture interest, but the writer must create a recurring interest to keep those pages turning. The story must tease the reader’s inquisitive nature, sometimes allowing the reader to play detective for a while, and then the solution to one issue is overlapped by creating a new one.

Your task as a writer is to entertain and lure the prospective reader into looking beyond the title of the short story, or novel. Tease them into looking at that first page, and then draw them in, line by line, and page by page.

If those hook examples have worked for any of you, those two stories are available on this blog. As always, thank you for reading, and I’ll see you back here for … ‘I’.