By Ansen Dibell
This is often one booklet on writing fiction i'm going to learn persistently. I particularly love his tackle parallel plots and the way to reflect and echo repeating styles to focus on the large scenes. it is a no nonsense ebook with suggestion i haven't learn in the other ebook on writing. I provide this publication a five famous person and in the event you do purchase this e-book enjoy each note.
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Extra info for Plot (Elements of Fiction Writing)
Sample text
I can only talk about one of these at a time, but pretend I'm talking about both at once, because both need to be decided at the same time, namely right away. This chapter is on some fundamental choices regarding viewpoint. The next one is on handling exposition. HOW MANY EYES ARE ENOUGH? Sometimes there's no viewpoint character, nobody whose eyes focus the action. Instead, the author tells the story. That's called omniscient (all-knowing) narration. The author narrates, mentioning what this or that character may be feeling or thinking anytime the author pleases.
It follows that exposition is less dramatic and less vivid than a scene—generally, a lot less. So, as with all major components of narrative, you'll need to recognize the nature of the problem and find effective, appropriate ways of compensating. WHY EXPLAIN? You may be asking, reasonably enough, if exposition is so dull, why not stick to scenes? Well, you can, if you want to and your story will allow it. A good many short stories are one single scene 43 44 P L O T with no more than a phrase or two of exposition or description in any one place.
Treat needed shifts with the utmost respect, the sort you'd accord a loaded gun. With Two Characters If you're going to be switching from Ginger to Fred, there are three main ways to handle the change: scene by scene, chapter by chapter, or part by part. If you decide to make your switches scene by scene, do your first switch in the first few pages, when one scene changes to another, taking special care that the reader knows the switch has happened. Start the new scene with the new viewpoint and establish it in the very first paragraph with something like, "Ginger was dragging the cat back from the edge of the roof.