New answers tagged

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There are two styles that come to mind: the Epistolary Novel is the first example, in which the narrator is a character in the story who serves only to tell the story with limited knowledge to the actual hero of the tale and the character in the context of the story is more of an observer reporting after the fact. Perhaps the most famous work in this style ...


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Your narrator can be a character in the book --for instance, Nick, in The Great Gatsby. In that case, he or she can simply interact with other characters as any other character would do. Your narrator can also be the disembodied voice of the author. If the narrator interacts with the characters in that second case, you are writing experimental metafiction. ...


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What I actually wanted to ask is if I can adapt the writing style and not the story content from the forum. That I can say: "I know how to narrate my characters in this forum so I can do so in books I want to write." I used to be a massive forum roleplayer some years ago, and now I mostly write novel and short stories. I've got a few good friends who used ...


5

The biggest difficulty with this idea is that from the moment the narrator calls a character me/I/myself, the reader will see the character and the narrator as the same person, and they won't stop seeing it that way unless you start a new chapter that refers to a different character in the first person (and are very careful to do this without making the ...


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I'm in agreement with Amadeus here. It's just not a technique that is going to work. I'm trying to think of an exception, and I can't. Already you're messing with things by having the 1st person narration know what's in Jason's head. Since the main character is telling this part of the story, s/he shouldn't know what Jason is thinking of and it makes ...


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I would say Rewatch Bonus or The Ending Changes Everything. As a discovery writer, I often don't know my ending until I have written 50% or even 70% of my first draft. So when I am done I actually go back through and look for moments in which I can rewrite a scene for foreshadowing, or add Rewatch Bonuses, sometimes just by modifying dialogue or adding an ...


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What came to my mind immediately is Foreshadowing Foreshadowing is the art of giving "hints" of what is about to happen in order to build tension, and a pretty common literary device. In your example, there may be multiple moments building up to the eventual death of that character. I'm stretching the definition here, and i'm aware of it. When you show ...


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You can certainly use them; but you have to set them apart from the text in a very deliberate way. You can italicize them, encapsulate it in em dashes, both... As long as you do not overuse them, or--if you do use more--make sure they are clustered. One cluster or word per three or four pages at a maximum, I'd think. Therefore, only use them when they ...


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This style of dialog works for Hemingway specifically because he's a master of minimalism. As he detailed in his Iceberg Theory, he was always very aware of everything he left out. For that reason the things in his work have a three dimensionality that less fully realized minimalist work can lack. If you really want to try to write in this style, I would ...


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Typically, if we are going to introduce any shorthand for a long name (including initializing it), the first time we use it in full and then note the shorter name we will use throughout: This can just be the shortened name in parentheses if no worded explanation is needed; (xxx) implies "hereinafter xxxx". Or it can be an actual sentence to introduce it. ...


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Rhythm and emphasis define the usage. The first word is the most read, and is the reader's introduction to the sentence. Trudy said, "What a nice day." Emphasizes Trudy. Trudy cringed, "What a nice day." Still emphasizes Trudy, but surprises with "cringed". Cringing, "What a nice day," Trudy grumbled. Adds action and description, emphasized ...


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Fragments are acceptable in dialogue. I believe the first-person POV, terse statements, and intermittent context clues keep the conversation from becoming ambiguous. This approach would collapse upon itself if more than two people were engaged in the conversation.


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To me, here's what's implied by the passage: Brett, a woman, went on a trip hoping for some nookie with Robert Cohn. Robert did not come onto Brett, at least not to the extent she was hoping, and she was disappointed. Now Brett is trying to pump Jake for information about Robert. Because she still wants to get Robert in bed. She's also annoyed because ...


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Unlike with comics, you wouldn't want to use sound effects as dialogue or dialogue adjuncts (in comics the letterer makes them separate from actual speech), though you can get away with it in something humorous. You can, however, evoke sound effects. The door slammed shut. vs. She shut the door hard. Or She nocked another arrow, let it fly, and ...


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Fair warning: as a reader I have a pet peeve about onomatopoeia; I dislike it intensely as it tends to break my flow when reading. This is usually when non-word syllable strings are used rather than proper words but my aggravation carries over to all forms. You can use onomatopoeia in any genre - at least you certainly can if you're using a first person ...


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Hemingway is a great believer in minimalism. Heck, there's a software program named after him which is all about minimising word usage. His style of dialogue is all about inferring tone and whatnot from the words being said and the context. He leaves the hard work, the imagination, up to the reader and in turn focuses more on delivering the bare bones that ...


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There are already a lot of good answers here and my answer will overlap some of them, but I think it's an interesting question so I want to answer anyway. :-) One: Time. I'm not sure how long it takes to read a typical novel, but I now I've spent entire days reading some books. A movie has to fit into one modest length. 2 hours is a long movie. So a novel ...


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Often if something is included as an illustration (in a non-children's book) it might be A Clue! Agatha Christie novels are known for this -- if there's a diagram, that means understanding the locations of things is important. So if you included a full reproduction of the brochure, I'd be wondering if there's a secret within --does it indicate ...


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Writing / Reading builds imagination. When you see a film or a TV serial, you are confined to the directors vision of how the plot should be, how the hero/heroine looks like .... how events unfold. But when you read a novel, you are free to visualize how a person looks like. You are not confined to a visual POV. Reading / Writing a novel also builds a ...


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For the consumer it's a lot easier to skip back and reread a passage, skip a 10 page long monologue that's largely irrelevant to the story line (I'm looking at you, John Norman), and bookmark interesting places for future reference when reading a book than when watching a movie (even more so with television, where there is no way at all to pause and rewind, ...


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If you look at actual transcripts you will realise quickly that fictional speech is not the same as actual speech - and that this is a good thing. It's totally ok to include mannerisms and limited slang to establish a character, but taken to extremes characters may date quickly or be totally unintelligible outside of the time or place in which they lived ...


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Was it a short lived trend to write novels this way? I don't believe so. I've been reading novels for over fifty years, I have several hundred of them on my home bookshelves. I would have noticed a trend like that if it appeared since about 1965. As for your title question: Yes, but not so much the items you quote. Those kinds of stylistic things are a ...


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Typically, in a prose novel, you would describe the brochure, not reproduce it. After patiently listening to my story, she pulled out a resort brochure titled Transformation Intensive Programme, and pointing out with the pen in her hand she said; “Here, this one looks like something interesting for you." It cost £1500! It would be possible to ...


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Tricks with the written words themselves Other answers gave many useful things you can tell with books, that would be harder or impossible with other media. Internal states, not showing something, different senses, multiple points of view, passage of time, "special effects" that would be visually beyond today's technology, or even simply beautiful prose... ...


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Sensory detail A movie or TV show is limited to visual and auditory cues. A book, on the other hand, is capable of describing the whole suite of human sensory experience. You can described the smell of popcorn in the circus air, or the warmth of a downy blanket on a cold night, or the pins-and-needles prickling of moving a limb that's gone to sleep. A ...


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A reader gets to imagine things a viewer is forced to see. I did not like the first part of The Lord of the Rings on film - my mental images were so much better. I skipped the rest. As an author you can trigger your reader's imagination in ways that aren't available to a filmmaker.


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One big advantage that may or may not be mentioned here is pacing. With a movie or TV show, due to the time limitations, not only do you have less freedom with content, but you also are limited by the ability to express the pace of the story. With a book, every reader reads at a different pace, but you can use that to your advantage. It allows you to write ...


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A big advantage that I've seen used (and am currently trying to use myself) is that your audience can't actually see your characters. Now I know what you're thinking--"Isn't this a limiting factor?" It may be, but it also means that if you have two main characters who trade off on POV for different chapters, you can have them both run into the same ...


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The Sensory Supernatural Fundamentally, something TV and film cannot do is control the viewer’s response to sensory experience. This generally comes up in fantasy or fantasy tangential genres that involve emotional or psychological effects of visual or auditory phenomenona. Stuff like: Songs that lull the listener to sleep Inhumanly beautiful beings ...


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You've already gotten quite a few good answers, but there's one important point that I didn't see in any of them: You can omit visual and aural details. If you don't want to tell the age of the protagonist, or the hair colour, or the type of clothes, or if you don't want to tell it yet, then you can. In film and TV that's not possible; the protagonist is ...


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The main difference is the ability to be published. To break into TV, you need to live somewhere that produces a lot of TV shows (in the United States, you'd move to Los Angeles and try to hang out with others in "the industry"). I'm not sure how else you break in, but it's not easy. You can self-publish 100 novels with the same ease (and money) it ...


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Your narration can also be more casual -- it depends on the overall tone of the work, but the Narrator POV is sort of a character, too. Sometimes, if it's generally more formal, by using the casual tone (if intended), it becomes clear that we're now closer to a protagonists' thoughts. This happens a lot in Harry Potter -- sometimes the 3rd person POV ...


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I think in recent years the gap between what is "possible" in a prose vs. film (both cinema and TV) has narrowed significantly - historically the limitations and expense of things like CGI and practical effects made some of the more exotic genres such as Sci-Fi and Fantasy difficult to translate onto film. This is realistically no longer the case in 2019 - ...


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Your problem is not unusual --we all grow up on a diet of visual media these days, and it affects the way we think and write. As someone who has wrestled with some of the same issues, here are some notable differences: Length - This is one of the most crucial differences. An average length novel has room in it for a lot more material than an average length ...


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I think the main advantage is interior life. You can use narration or thoughts to give us what one character is (or several are) thinking. That's hard to do visually without a cabbagehead character or "As you know"ing, which I hate.


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Yes, your characters should speak naturally, not as if they were reading a formal piece of writing out loud. But that doesn't mean you won't edit it. Take the example of radio interviews. They routinely edit out pauses, um's, and you knows. This creates speech that is easier to listen to. After all, someone whose speech has a lot of filler can be hard ...


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In dialog, you most certainly should have your characters speak like real people actually speak, and not in formal written English. Like in real life, if I hear someone coming in the door and I call out, "Who's there?", they're very likely to say, "It's me". Very few people would say, "It is I." Or the person might say simply, "Bob". They would be very ...


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I will provide quotes from The Chicago Manual of Style, 17th ed., and from The Editors Blog. The links to Chicago are behind a paywall and, unfortunately, can only be viewed if you have a subscription. While these generally hold true across most style guides (in both English in general and literature specifically), other style guides may give different ...


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Screenshots can also come to the right or left of text that references them. Using columns can improve readability and keep illustrations from being separated across pages from the text that references them.


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(Decided not to spam the comments section, so) Using spoken english ( sometimes called 'being colloquial') is good - it makes your story more realistic. In real life, people 'hmmm' and 'uhh' and pause for confirmation from their audience and have bad grammar. "I goed to the park," said Suzy That's okay* if you've established Suzy as someone who isn't ...


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Yes, that is acceptable. In dialogue, the only thing I'd say is unacceptable is trying to duplicate "sound effects" in the speech itself.Like if somebody is speaking with a mouth full of sandwich; just say so. Bob mumbled around a mouthful of cereal, "I don't want any." Don't try "I doh wah enna", it breaks the immersion of the reader by making them try ...


1

But I've read that it's lazy writing to express the state of mind or event by just mentioning third part scene. I mean I can also elaborately mention her state of mind by showing all the other things that are happening. That's absolutely true, as a lot of other answerers have pointed out. Referencing a famous song like Mad World is not enough to portray ...


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While you don't need to follow a style guide here (except your publisher's of course), it's helpful to look at them. The AP Style Guide (Associated Press) is a good one because it's for American newspapers. Newspapers work hard to bring in a large range of readers, so they aim most of their articles at a high school (or even Jr. High school) reading level (...


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There's nothing wrong with mentioning specific songs or tech in this way. And while it's not lazy writing to use songs as a tool for conveying a character's mood it is to rely on them solely. Expecting the reader to take them listening to a particular song as meaning they are sad just isn't going to work (unless you've already somehow established that as ...


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I'd say it depends on what those numbers are. Writing "five in the morning" instead of "5am" isn't going to make too much of a difference to readability. In fact, depending on the general tone of your story, that slight bit of extra eloquence can really enhance it. However, once you get into longer numbers, using the actual numerals really helps with ...


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As a reader, if I find a novel in which the author has flouted standard writing style by not spelling out small, short (in terms of word length) numbers, say, writing "100" instead of "one hundred" or, even better, "a hundred" (given the implied precision of this kind of number) -- I'm likely to close the book right then, because neither the author nor any ...


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I had the same reaction to your musical allusion that Wetcircuit did: I have never heard the song "Mad World", or if I have, I don't remember it. It does not bring any emotional state to my mind because I have no idea what it is about or what it sounds like. I've had this conversation with many authors: They'll say, "I included this cultural reference to ...


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It tells us nothing The phrase Gary Jules 'Mad Mad World' has no emotional resonance with me whatsoever. It is not shorthand for "a specific emotional state". Popular music is not a universal experience. It can signal to your "tribe": people who are the same age, gender, financial tier, and probably race – the same demographic targeted by that particular ...


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Lots of novels go into detail about music, movies, TV shows, and other art and culture relevant during the setting of the book. Also technology. In some cases the cultural details are important to the setting. High Fidelity is all about the music; failing to mention it would have ruined the book. In other cases, giving those details evokes a particular ...


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