Today’s post includes excerpts from What’s the Story? Building Blocks for Fiction Writing, chapter four: “Theme.” Enjoy!
What is the Theme of a Story?
Theme is one of the most difficult story elements to understand. Often confused with plot, theme is actually a worldview, philosophy, message, moral, ethical question, or lesson. However, these labels, taken alone or together, don’t quite explain theme in fiction. Read more
Most authors agree that fiction is primarily driven by characters. Successful authors talk about characters who take over the story, who have their own separate and independent consciousnesses. Outlines and plans for plot go out the window as characters insist on moving the story in a direction of their own design.
Because characters are central to most stories and because their primary function is to explore the human condition, it’s essential for characters to be believable. In other words, characters may not be real, but they most certainly should feel real. Read more
Today’s post includes excerpts from What’s the Story? Building Blocks for Fiction Writing, chapter three: “Setting.” Enjoy!
Setting may not seem as critical to a story as character or plot, yet it is a core element of storytelling and for good reason. The setting of a story helps us understand where and when it takes place, which gives the story context. If the audience doesn’t have a sense of setting, they’ll feel lost and confused (sometimes that might be the author’s intent).
The Setting of a Story
A setting can be big or small. It can be a made-up world—a massive galaxy with multiple star systems and inhabited planets—or it can be a single room—four walls and a ceiling. Read more
Today’s post includes excerpts from What’s the Story? Building Blocks for Fiction Writing, chapter two: “Plot.” Enjoy!
What is a Plot?
A plot is a sequence of related events in a story.
Plot usually centers around the protagonist’s primary goal or challenge, the central story problem. Each event in the story pushes the protagonist toward a climax where they either succeed or fail to resolve the story problem. In a mystery, the challenge might be to solve a crime. In a romance, the goal is to find true love. Read more
Fiction writing exercises can help you discover storytelling techniques and provide ideas and inspiration for your fiction writing projects.
These exercises provide practice and experience for young or new writers. For more experienced writers, these exercises offer inspiration and can help you see a story from a fresh perspective.
Today’s fiction writing exercises are carefully chosen to help you develop some of the most critical components in a story. If you can create a few characters; identify a conflict, climax, and resolution; and choose a theme, you’re well on your way to writing a short story or novel that will resonate with readers. Read more
Today’s post is an excerpt from the book What’s the Story? Building Blocks for Fiction Writing. This is from chapter one, “Characters.” Enjoy!
We see ourselves in a story’s characters. We see people we know—people we love, people we hate, people we fear, and people we want to emulate.
We love characters, loathe them, judge them, take their sides, or stand in opposition to them. We cheer them on and boo them. We celebrate them, and sometimes we mourn them. We form relationships with them, even though they’re just figments of some storyteller’s imagination.
Characters are the heart and soul of a story. We care about a story only to the extent that we care about its characters. In order for us to connect with characters, they need to do more than move the plot forward. Characters require depth and complexity. Who are these characters? What do they want? Why do they want it? What’s standing in their way? Realistic characters come with all the flaws, quirks, and baggage that real people possess. They’re not just names on a page; they have pasts and personalities, and each one is unique. Read more
Today’s post comes from my book 101 Creative Writing Exercises. This is from “Chapter 5: Fiction.” Let’s take a look at symbolism in fiction.
Symbols and Symbolism
In Alice and Wonderland, a white rabbit appears, and Alice follows him down the rabbit hole that leads to Wonderland. The white rabbit is a herald — a character archetype that signifies the first challenge or the call to adventure. This is the change in the main character’s life that marks the beginning of the story. Read more
Fiction writing prompts are a great way to stimulate creativity when you’re in the mood to do a little writing but need some fresh story ideas.
Prompts and other creative writing exercises can trigger your imagination. Sometimes, prompts and exercises help you come up with new ideas for projects you’re already working on, and other times, they give you ideas for projects you haven’t started yet. They’re also a great source of motivation.
10 Fiction Writing Prompts
The fiction writing prompts below are story starters. Try starting the first sentence of a new piece with one of the prompts and run with it, or write a story that includes one of the prompts somewhere in the text. As an alternative, use the prompts to generate story ideas and plan a story around a prompt (you don’t have to include the actual prompt anywhere in the story). You can even use one of the prompts as the final sentence in a story and use your imagination to fill in what happens leading up to it.
Feel free to alter any of the prompts to your liking. Use one or use them all. Have fun.
- She rolled over and felt her body push up against something hard.
- My wife disappeared on August 28, 1998.
- Sonny jumped up against the chain-link fence, wagging his tail furiously.
- Mom says it happens to all girls, but I think she’s just trying to make me feel normal.
- I’ve been to nine planets in twelve years and it’s starting to show.
- They say Old Weezie’s been reading palms out of her run-down shack for a hundred years or more.
- Acronyms give me a headache in general, but PBRT gives me a migraine.
- Ashley stared at the fruit, so lost in amazement that she didn’t think to comment on its size.
- Every day the sun comes up and every night it goes down again.
- When the elven guard put out a call to action, their plea went unheard and what followed was sheer terror.
Bonus challenge: Write a story that includes each and every one of the ten prompts above. That would be quite a feat!
Looking for more fiction writing prompts and story starters? Some of today’s fiction prompts appear in 1200 Creative Writing Prompts, available in paperback and ebook.
Setting is one of the most important elements in fiction writing. If your readers don’t know where the story is taking place, they’ll get lost and confused, and it will be hard for them to enjoy your tale.
Some stories have simple settings based on real places. You can use your hometown or a major city. A setting can also be completely dreamed up, which is often necessary in speculative fiction writing (Wonderland and Never Land, for example). You can keep a setting in the background, referring to it only when necessary, or you can bring it to the forefront and allow it to function as a character in your story.
Some authors go to great lengths to take the reader through a story’s setting. Just last year, I read a book in which the character drove around Los Angeles. The author took us down L.A. streets, past parks, and into real neighborhoods and establishments. It was a bit much, but I’m pretty sure if I were a resident of L.A., I would have gotten a little thrill out of the familiarity.
Today, we’ll take a deeper look at setting with a few fiction writing exercises designed to help you establish the settings in your story.
Fiction Writing Exercises: Place and Time
There are two sides to setting: place and time. If you’re writing a contemporary novel, the time in which your story is set is relatively straightforward. However, if you’re writing historical fiction, futuristic fiction, or a story that includes time travel, you’ll need to make sure readers always know what time it is.
Setting it Up
For this exercise, you will choose several settings and write short, opening descriptions that tell the reader when and where the action is taking place. Contemporary readers aren’t crazy about lengthy descriptions, so keep it simple: a couple of sentences or a short paragraph of description will suffice. Here are a few prompts to help you get started:
- A ghost town in the wild old west.
- A contemporary metropolis.
- A medieval household.
- A made-up fantasy land.
- Aboard a vessel, such as a spaceship, in the far-off future.
Setting as Backdrop: Too Much vs. Not Enough
For this exercise, you’ll write a short scene that kicks off the story and establishes the setting. Instead of presenting a snapshot of the landscape before moving into your story, you can bring readers right into the setting by combining the setting’s description with action and by using active language rather than passive:
- Instead of describing busy streets packed with shoppers, show readers that shoppers coursed through the streets like rats in a maze.
- You can bring characters into the setting: Kate craned her neck and spied a tiny patch of sky amidst the towering skyscrapers.
- In establishing time, you can simply state the date (the year was 2012) or you can place something in the setting that identifies the era: A brand new 2012 Porche sped by and Kate whirled on her heels just in time to see it disappear around the corner of Lexington.
Setting as Character
Places that have a life of their own are hugely popular. Many science fiction and fantasy stories are set in places that function as characters: the U.S.S. Enterprise from Star Trek and Pandora from Avatar are two good examples. But cities, towns, and rural landscapes can also have personality. For example, New York has been called the fifth main character in Sex and the City. Houses, vehicles, cities, planets, nations, and rooms can all have personalities of their own.
For this exercise, write a character sketch for a place. Make a list of its traits: personality, style, attitude, class, and philosophy. Is it relaxed and laid back or dark and dangerous? Does it swallow people or lift them up? Is it friendly to newcomers or is it exclusive?
If you’re inclined, go ahead and write a scene or outline to show off your setting’s personality. Remember: just because the setting is functioning as a character doesn’t mean it’s the protagonist or antagonist. It can be a minor character and still largely function as the story’s backdrop (rather than forefront). Make sure you keep the focus of the story on the plot and characters.
How Do You Approach Setting?
Some writers don’t think much about setting. They know exactly where their story takes place, and the setting emerges naturally through the writing. But sometimes, a poorly established setting is unclear or confusing. Do you pay heed to setting? Do you work it out before you start your first draft? If you know of any other great fiction writing exercises that focus on setting, be sure to share them in the comments. And keep writing!
Are you looking for more fiction writing exercises? Pick up a copy of 101 Creative Writing Exercises, available in paperback and ebook.
Some writing tips are cryptic.
When I first came across writing advice that said, “kill your darlings,” I thought it meant we should kill off our favorite characters. That seemed ridiculous. I mean, there are situations in which a story calls for characters to die, but to make a sweeping rule that we should default to killing off our most beloved characters is pretty extreme.
Almost immediately, I realized it was so ridiculous that it couldn’t possibly be the intent of the statement, and I concluded that although “kill your darlings” means that we should be willing and prepared to kill our favorite characters if the story calls for doing so, it also has a broader meaning. We writers must be prepared to cut our favorite sentences, paragraphs, and chapters, if doing so improves our work.
That’s solid advice, and I agree with it.
Some writing tips have more than one meaning. “Kill your darlings” isn’t just about being true to a story you’re writing insofar as you’re willing to put your most beloved characters to death. What it means, in the broadest sense, is that we have to be willing to let go of any element of our writing that is not essential or beneficial. Killing off characters is the most obvious way to “kill your darlings,” so let’s look at that first.
Kill Your Characters
Every so often, I read a story and think that either too many characters were unnecessarily killed off or certain characters should have been killed off because it wasn’t believable that nobody died.
Like many readers, I’m not a big fan of gratuitous violence. If the story calls for violence, then I’m fine with it, and I do think that literature needs to explore themes like violence because it’s a prevalent problem in our culture. But when violence is glamorized or when it’s inserted into a scene without having any relevance to the story, it annoys me. Gratuitous violence is often used to kill off characters and sometimes, it makes me feel like I’m being manipulated — like somebody wants me to be sad about a character’s death so I’ll forge a deeper emotional connection to the story. If it’s all done without relevance to the story or in a way that is unbelievable, it has the opposite effect. It kills my connection with the story because the story becomes formulaic in a negative way.
The same is true when characters die by means other than violence. If I feel like the author is just having fun killing off characters to get a rise out of me, I get irritated and find something else to read.
Having said that, death is universal. Everybody dies eventually, so I think death is an important topic to explore in fiction. Stories that deal with death in ways that are effective and meaningful resonate with me and deepen my emotional connection to a story. When I’m reading a war story where bullets are flying and bombs are blazing and the five main characters, all of whom are fighting on the front line, manage to survive with a few minor injuries, I find it unbelievable. A story like that calls for the death of a darling because that’s the truth of the story.
Killing Scenes and Chapters
But let’s get away from killing off characters because “kill your darlings” goes beyond characters.
We all have paragraphs, scenes, and chapters that we’re proud of. For whatever reasons, we get attached to these parts of our work. If we realize that a favorite scene is not moving the story forward or doing anything for the story whatsoever, we have to contemplate cutting it. We might try to revise it and work something important into it so we can save it, but some scenes can’t be resuscitated. They must be cut in order to maintain the integrity of the manuscript.
The same is true of sentences, paragraphs, and entire chapters. They may contain some of our best work — dazzling turns of phrases, vivid imagery, and compelling ideas. But if these portions of our work are not relevant or even essential to the larger body, then they are dragging us down, even if they are brilliant.
And that’s another way that we sometimes must kill our darlings — by snipping or radically revising some of our best work. It’s unfortunate. It’s a bummer. And it hurts to highlight huge swaths of text that we labored over and loved, and then press the delete button. But if these excerpts are weakening the larger piece, they’ve got to go.
Putting Substance First
I believe that in fiction, the story has to come first. In an essay, the thesis has to come first. In a poem, we have a little more wiggle room, but even then, the intent of the poem has to come first.
When I cut 40,000 words of a manuscript, I felt relieved and unburdened. I had to let go of some good stuff — characters, scenes, chapters, words, and sentences that represented some of my best work. A little of everything got cut. I wasn’t happy about it, but I knew that it would make the story one hundred percent better. I also knew that I could save that material and reuse it if the opportunity ever arises.
It’s hard to let go. It’s especially hard to let go of something we’re proud of, something we’re attached to, worked hard on, or something we love. That’s the lesson of death — when death occurs in fiction and is carried out well, in a meaningful way, it’s almost always about letting go. That’s something everyone has to do, not just writers.
We writers have to learn to let go of our darlings. Whether they are characters, scenes, or sentences, we have to expunge pieces of our work that we admire because they do not speak truth to the story we’re trying to tell.
Have you ever killed off a favorite character, eliminated a great scene, or deleted a snazzy sentence? Was it hard? Did you save it? Share your thoughts and experiences with killing your darlings or share some of your favorite writing tips by leaving a comment.