Being a Better Writer: Blending Different Genres

Hey readers! Welcome back to the start of another week! I hope you all had a pretty good weekend! Mine went well. In fact, I’ve got some good news for you.

For starters, Frigid-Reviews asked me to do a special spotlight on how I worldbuild. You can find it over on their site, as well as a number of book reviews—including reviews for Shadow of an Empire and Colony!

Second, Unusual Events: A “Short” Story Collection is on sale today for 99 cents! This price will slowly climb back to the original price over the course of the week, so grab it while it’s cheap!

That’s it for news! Plus, there’s a lot for me to do today, so let’s just dive right in to today’s topic. This topic is … well, it’s a bit of a broad one. I’ve noticed that with these request topics things seem to go one of two ways, broad or extremely specific, so in the future I think I’ll scale back the amount of requests a little to hit some more traditional writing topics as well.

But that aside, this topic is a bit broad because the question behind it concerns genres and how to use them. Specifically, how to mix them together. To get even more specific, the initial question wanted to know how to mix genres that didn’t mesh together, but … Well, I disagree with that. Almost. But since I can’t explain that without a whole lot of other context …

Yeah, let’s just dive in.

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Being a Better Writer: Cliffhangers

Afternoon readers! I hope your weekend was exemplary! Mine was actually pretty rough: I twisted my lower back again and got a vertebrae out of position. It’s … not  comfortable, especially as it aggravated a muscle imbalance in my pelvis (which was due to one knee being weaker than the other) and made all those muscles go berserk … Long story short, there was a period on Friday, before I found an exercise video that made these muscles release, where even moving could make me gasp in pain.

Yay! More material for another book!

Anyway, it definitely disrupted my weekend. I spent my days lying on the floor, trying to keep my back as straight as possible to try and even things up. Thanks to a massage therapist, the muscles in my back and pelvis have mostly relaxed, but the vertebrae is still out of position, so I’ve got an appointment with a chiropractor …

Anyway, point being I almost cancelled today’s Being a Better Writer so that I could catch up on things … but that wouldn’t really be fair. Besides, I’ve got some good topics coming up, and really want to get to them. So, without any further talk, let’s get to today’s topic: the cliffhanger.

Cliffhangers are a pretty classic bit of storytelling, as well as pretty self-explanatory. At least, as a concept. A cliffhanger is when you end a chapter or a story with a character hanging from a cliff in some fashion. Not a literal cliff (at least, not always), but in a sense that the protagonist is under an imminent or some sort of danger. And at the most basic, that’s pretty much all you need to know: End a chapter or a story on a moment where your characters are in peril. This ratchets up the tension, and keeps your reader wanting to turn the next page. But is that all there is to it? Well … no. Because like anything else in writing, there are good and bad ways to do this, and other elements such as pacing to take into consideration.

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Being a Better Writer: How Smart Do They Have to Be, Anyway?

Hello, readers! I hope you’ve all had a pretty good weekend and are back and ready to talk about writing, because we’ve got an interesting topic here today. Which is a request topic, but in a broader sense than the original seeker intended.

There’s not much in the way of news, so lets just dive in! The originator of this question wanted to know: How could one write a story with a smart protagonist but an unintelligent antagonist? Was it even possible?

To which I’d respond “Of course it is!” Pretty much every kid-focused comedy ever made seems to angle in this direction, whether it’s the original Little Rascals (I mean the original black-and-white shorts) or something like Home Alone. You have a reasonably smart child protagonist, and the fairly unintelligent adult antagonist(s). More adult-oriented (age, people) also move in this direction. How many films are there, after all, about a well-meaning, intelligent individual being worked over by a less-than-intelligent boss working up the nerve to strike out in revenge? Plenty. I can think of a few off the top of my head. Books too (I feel I should swing that in since, you know, writing).

Now, here’s the kicker. Are any of those stories less-than-serviceable for having an antagonist who isn’t as bright? No. Of course not. In fact, just because those antagonists aren’t as intelligent as the protagonist doesn’t mean that they can’t prove a ruthless and effective force.

How? Well, that’s what we’re going to dive into today. So buckle up, because here we go.

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Being a Better Writer: Serving an Idea

Welcome back readers! Sorry for the lateness of the post. There almost wasn’t one this week. Between a work shift today and a family wedding last week (not my own; I’d talk about that) the last few days have been extremely busy, and more than once I’ve been tempted to just skip a week and get caught up with Hunter/HuntedBut then I was talking with someone online this morning about the differences between a couple of different Sci-Fi books with regard to how they approached their stories, and, well, here we are!

So, those of you who are long-time readers of this site may find this post slightly familiar. To be fair, in near five years doing this, I’m frankly amazed that I’ve managed to keep from retreading topics as many times as I have. But even with that, there’s something to be said for coming back at a topic from a new angle and with a different approach or perspective. So read on. Either it’ll be new to you, or it’ll be a different approach that you hadn’t run across before.

So, what are we going to talk about today? Priority of ideas and concepts. More specifically, how you present those ideas, the core concepts of your story, in your story, and how that ends up affecting everything else. Or rather, if it helps, how important those ideas are to the story in its most basic form.

Confused? Don’t be. Or hopefully, you won’t be in a moment. But this does take some explaining.

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Being a Better Writer: The Convenient Romantic Subplot

Welcome back, readers! It’s Monday, and you know what that means! Time for Being a Better Writer!

But first, a slight aside. Dave Freer (you may have read something of his) wrote this little blurb that caught my eye from my morning feed on the Mad Genius Club (their name, not mine) about large books. More accurately, on books that dive past the “normal” length of 40,000 to 100,000 words. I found it interesting, both because well, the “normal” length for me is hovering around 325K per story, and because Freer is writing this as someone who doesn’t write such long books and is putting forth his thoughts on both why he doesn’t and where they may fit with readers and the industry.

I found it interesting, especially as it does point out how much of an outlier I am with the breadth and scope of what I do. Those of you who are fans of my work, take a look at his thoughts and see what you think. If you’re so inclined, if you think he nailed something or was way off, leave a comment!

Okay, news aside. Let’s talk writing stuff. Now, today’s topic isn’t a requested one. In fact, it’s not even on my Topic List. No, this is one that came to mind as I was sitting reading through another book last night (a short story collection, in this case, but I hit the library recently, so I’ve been mowing through a literal stack of books). I’ve been doing a lot of reading lately—more than the norm—and naturally, I was noticing a lot of trends as I read through. One of the most common, which I’m sure many of you readers, movie-watchers, and the like also notice, is the sometimes dreaded romantic subplot.

Naturally, I started thinking about it. Why we use it. Why it’s become so blasted common and cliche, and yet still sticks around despite that. Why so many feel the need to stick a romantic subplot into an otherwise good story (this, by the way, is often called a romantic plot tumor when it doesn’t belong). Why so many dislike it, and yet it constantly shows up, again and again. Personally, I felt it was worth talking about. Because I guarantee you, a number of readers of this site have sat down to write out their story, and almost immediately thrown a romance subplot in without even knowing why.

Now, I do want to make a caveat here: I am not talking about the romance genre. I’m talking about romantic subplots. You know, a side plot to the main story. Not a story where the romance is the story, but a story where the romance is something happening alongside the main story, but not the crux of the plot. The protagonist has a journey, a foe to face, a mountain to climb, an alien planet to explore .. whatever. And along the way they fall for someone.

All right, with that catch explained, let’s talk about romantic subplots.

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Being a Better Writer: Writing Exercises for Viewpoints

Welcome back, readers! And welcome to Tuesday! As you probably guessed, I had work shift yesterday, and as low as hours have been lately, there was no way I wasn’t taking it.

Just gotta make it to the end of August. The end of August.

Anyway, you guys aren’t here to hear about how close to the edge a writer’s life is. You’re here to hear about how it can be you at the edge!

I’m only sort of joking. Anyway, you’re here today for Being a Better Writer, and today we’ve got another request topic to tackle. Which, if you’ve glanced at the title above, you already know of: writing exercises.

Okay. I’ll give you all a minute to think on that one, and then I’m going to change the game. And again, if you saw the title, you’ve already guessed how that’s going to change.

I won’t be offering a comprehensive breakdown of dozens of writing exercises. Because, honestly, it’s easy to find writing exercises. Just type “good writing exercises” into Google and you’re bound to find hundreds. My offering, in that respect, of retreading the same ground? Not so useful.

However … that doesn’t mean I have nothing to offer. I’m not going to retread a bunch of exercises you’ll find elsewhere, but I will go over some of the exercises I did in college, as a young writer in creative writing classes, and discuss what made them stand out and why I still remember them today.

Sure, it’ll be a bit unconventional for a BaBW post, but I’m allowed to do that. It’s my site, and I answer to me. So, looking back, here are several challenges and exercises that helped me improve at my craft: what they were, what they each entailed, and how they helped me get better.

Let’s rock.

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Being a Better Writer: Writing for Interactive Stories

Welcome back readers! It’s going to be a great week here on the site. More stuff coming, as usual. Follow-ups to prior posts, feedback … Basically, there’s a lot going on at the moment, so expect to see quite a bit of that on display here as the days come along!

Okay, rather than spend a few paragraphs on news or teasers, I’d really rather just jump into today’s topic. This one is, as many of you probably already know, a request topic. And you know that because you were one of the many readers that requested it, and you let out a satisfied “finally” the moment you saw this post’s title.

But yes, we’re talking about writing for interactive stories: Choose-your-own-adventure-style works, tabletop campaigns, or any other sort of story where you give your audience the means to pick their own fate.

Now, this is one of those posts that I’m going to lead with a disclaimer. A stronger one than the normal “everyone’s experience is going to be a little different.” And that disclaimer is: I am not an expert at this. While I’ve been playing tabletop games like Dungeons and Dragons for a few years now, and have been running my own custom campaign now for over six months, I would still acknowledge that I’m a novice of sorts and tend to make a lot of mistakes. Crud, last week I made a pretty lousy one and did something that would have worked for a normal book … but instead flubbed pretty bad because it wasn’t a book, it was an interactive story.

In other words, what I offer today is only going to be scratching the surface. I’m not a master-class writer at doing interactive stories and running tabletop games. I’ve never once written a Choose-your-own-adventure story, though I did read a number of them growing up. What I offer are some of the basic lessons I’ve learned that can hopefully help get you started. From there, I would hope that if you find the topic interesting, you would go to someplace like Youtube or Google and start searching for advice from dedicated Game/Dungeon Masters who have run professional games and have for decades. Yes, such advice does exist, and in fact I watched quite a bit of it before starting my own campaign in January.

Also, a bit of a warning: We’re going to bounce a bit today. Mostly because running a tabletop campaign story is still a bit different from a CYOA-style story. Plus, since I have more experience with the former, the advice I share here today will be more tailored to what I have done for that and would I would do for the other.

Right, disclaimers and notifications out of the way, let’s get this post underway! So … you want to run an interactive story.

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