How To Reach Out To For A Spech Shoot Fashion Short Story Writing: Article 12: Style

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Short Story Writing: Article 12: Style

Style

The secret of good style is to say what you need to say as simply and directly as possible. That is the most important statement that can be made about style, and the second most important is that it is obtained only through practice and experience. However, there are some guidelines that can help us improve.

Overwriting

In writing any proverb, we are trying to strike a balance between two things: making sure the reader knows everything we want him to know and making sure that reading our work is a pleasant experience. Two experiences we do not want our readers to have are boredom and stress. The reader will be bored if he finds himself having to read a paragraph, sentence, or even a single word that does not make a significant contribution to the story, and he will be disappointed if he feels that his imagination and judgment are being destroyed by you. Author. Overwriting means talking more than necessary to do both.

Anti-overwriting drugs are simple and clear, and in practice the balance we strive to achieve often arises to the question, ‘Do I add extra words or phrases to give the reader more information or do I leave Information for the sake of simple sentences? ‘ In short story writing, the answer is simple: you give up important information for the sake of a clearer sentence.

Leave space for readers to put things together. Leave space for the reader to manage.

Adjectives

Adjectives should be used as little as possible. Relying heavily on them is unprofessional. (Hemingway advocated doing without them all.) Verb-activated actions are the lifeblood of fiction, and adjectives never go beyond decoration. It is not practical or desirable to do without them completely, but if you use less, it will have more effect, so use it patiently and cautiously.

Comma

Commas are as important as words and should be used sparingly. If you can design a sentence so that you do not need commas, you should do so and always think twice before using more than one sentence.

Duplicate words

She checked the indicator panel for the direction of the train, then joined the passengers waiting to board the train.

Such repetitions are awkward and unprofessional and are usually easy to avoid.

Active against passive verbs

John throws the ball.

The ball is thrown by John.

In the first sentence the verb is active and in the second it is passive. The active form is always better because it focuses our attention on the characters and makes the sentences clearer.

That.

Often ‘that’ can be left as written as we always leave it in speech. She knew she would succeed. Better yet: ‘She knew she would succeed.’

Stress

Most fiction is written in the simple past (I walked him walking) and there is rarely anything that can be gained by turning away from it. pluperfect (I walked, he walked) is useful now and then for pointing out something that happened before the story opened and for introducing flashbacks (see time) but a long crossing in pluperfect Should be avoided because it takes us away from immediate action. Any change of stress in a story should be handled with care and done only when absolutely necessary.

Some interesting stories are written using the present (I walk him walk), but their use makes for extra work for writers and readers, and in many cases the story will work the same way in the past. If you try, remember that when you started in the present, you must be in the present, unless the flash-backs are to end.

If in doubt, leave it

I have already said that words in general and adjectives in particular should be used sparingly. Grammar should also be used decisively. When overused, especially after a line of conversation, they become more clearly understood and lose meaning. Example:

“What do you mean?” She asked involuntarily.

“You know exactly what I mean,” he replied sadly.

“No, I do not,” she said patiently.

“All right, you should,” he said arrogantly.

A good conversation should show the tone in which the word is conveyed without reinforcement with the verb.

Exclamation marks and underscores are also rarely used, and preferably not at all. Again, the word self should emphasize itself.

Do not use abbreviations such as. Or in the story. They do not belong to fiction, especially not in conversation.

Do not use stories as an opportunity to show off your broad vocabulary. Readers will not be interested in the use of ambiguous words for a long time. He is likely to think you are pretending and giving up.

Loneliness in style

Do’s and don’ts of all this seem like an attempt to eliminate individuality from style, but this is not the case at all. The main principle is ‘say what you need to say as simply and honestly as possible’ and what he has to say and what is simple and straightforward will be different for every writer.

Listen to the word

All I’ve done is aim to help you make judgments about your style, and the best way to make these judgments is to ‘listen’ to what you write. Of course, reading aloud can be helpful, but with experience it should become unnecessary because you will develop the ability to listen to what you write silently and leave your ears to judge your style.

You are an entertainer

Lastly, always remember that it is your job to entertain and engage your readers, not to send them information or persuade them.

Copyright: Ian Mackean

http://www.literature-study-online.com/creativewriting/

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