The opening of a story is an extremely crucial part of the text overall. It is supposed to set the tone of the story, maybe introduce the main protagonist, perhaps also establish the setting, and immerse the reader within the pages all at the same time. This is no basic task. In light of these facts, this is why many seasoned writers advise up and coming writers to finish their stories first and add the opening last.
T.C. Boyle's opening to his short story Caviar is very good. In the opening to this story you already get a feel for how the tone of the rest of the story will feel, you learn a lot about our narrator who is also the protagonist, and Boyle presents you with the setting on the Hudson. I was sucked into it immediately from the very first sentence when the first thing the narrator tells us is that he never went to college.
The first sentence of your story is just as crucial as the opening itself. If you manage to draw your reader in at the very first sentence, that in itself is an admirable accomplishment. The introduction is about providing your readers with just the right amount of information about the story without giving too much of it away. You want to lay it out for them and show them just what they're about to get themselves into, but at the same time you don't want to weigh them down with too much information that might bore them or spoil the story. You want to give them a small taste that's going to wow them and keep them reading.
Monday, November 28, 2011
Fiction Writing - Blog #2: Quotation Punctuation
Quotation punctuation is pretty self-explanatory; it's how a writer chooses to format the punctuation within the spoken dialogue of their characters. Many writers tend to have their own style for quotation punctuation, but there is a set of guidelines that show us the standard for quotation punctuation.
Quotation Punctuation Rules
http://www.grammarbook.com/punctuation/quotes.asp
My chosen author is J.K. Rowling. Here's a small excerpt from Harry Potter and the Sorcerer's Stone when the Weasley twins, Fred and George, first meet Harry:
"Thanks," said Harry, pushing his sweaty hair out of his eyes.
"What's that?" said one of the twins suddenly, pointing at Harry's lightning scar.
"Blimey," said the other twin. "Are you -?"
"He is," said the first twin. "Aren't you?" he added to Harry.
"What?" said Harry.
"Harry Potter," chorused the twins.
"Oh, him," said Harry. "I mean, yes, I am."
This is a pretty basic example of standard quotation punctuation. Commas are used instead of periods at the end of statements within quotations. Every new line of dialogue spoken by a different character is given a new paragraph, etc. Here's a small example from my novel idea Love[s] of My Life of how I present my dialogue:
"Pssssst!"
She turned her beautiful face toward me and gave me that sweet smile, "Hey!" She took a seat in the armchair next to mine.
"Finished already?" I asked her.
She nodded, "Yeah. I just had a couple things to check and a few e-mails to send out."
I could feel her aura wrapping around my body, "What you got to do now?"
"Nothing," she shrugged. "I have like two hours before my next class. Didn't you say you had to study?"
"Yeah, but I think I'm good. I did plenty of studying last night," I lied with a grin.
Quotation Punctuation Rules
http://www.grammarbook.com/punctuation/quotes.asp
My chosen author is J.K. Rowling. Here's a small excerpt from Harry Potter and the Sorcerer's Stone when the Weasley twins, Fred and George, first meet Harry:
"Thanks," said Harry, pushing his sweaty hair out of his eyes.
"What's that?" said one of the twins suddenly, pointing at Harry's lightning scar.
"Blimey," said the other twin. "Are you -?"
"He is," said the first twin. "Aren't you?" he added to Harry.
"What?" said Harry.
"Harry Potter," chorused the twins.
"Oh, him," said Harry. "I mean, yes, I am."
This is a pretty basic example of standard quotation punctuation. Commas are used instead of periods at the end of statements within quotations. Every new line of dialogue spoken by a different character is given a new paragraph, etc. Here's a small example from my novel idea Love[s] of My Life of how I present my dialogue:
"Pssssst!"
She turned her beautiful face toward me and gave me that sweet smile, "Hey!" She took a seat in the armchair next to mine.
"Finished already?" I asked her.
She nodded, "Yeah. I just had a couple things to check and a few e-mails to send out."
I could feel her aura wrapping around my body, "What you got to do now?"
"Nothing," she shrugged. "I have like two hours before my next class. Didn't you say you had to study?"
"Yeah, but I think I'm good. I did plenty of studying last night," I lied with a grin.
Fiction Writing - Blog #1: Inspirational Fiction
The films written and directed by Quentin Tarantino are a huge influence on my style of writing, most notably the way I present my characters in their spoken dialogue. What I love most about the way Tarantino writes dialogue is just how real the characters feel when they speak. Some of the conversations and comments I heard in his films are things I could definitely hear myself or some of my friends talking about. A prime example is the scene from Tarantino's Pulp Fiction toward the end when we see the two hitmen, Jules and Vincent, at a diner:
Vincent: Want some bacon?
Jules: No man, I don't eat pork.
Vincent: Are you Jewish?
Jules: Nah, I ain't Jewish, I just don't dig on swine, that's all.
Vincent: Why not?
Jules: Pigs are filthy animals. I don't eat filthy animals.
Vincent: Bacon tastes gooood. Pork chops taste gooood.
Jules: Hey, sewer rat may taste like pumpkin pie, but I'd never know 'cause I wouldn't eat the filthy motherfucker. Pigs sleep and root in shit. That's a filthy animal. I ain't eat nothin' that ain't got sense enough to disregard its own feces.
Vincent: How about a dog? Dogs eats its own feces.
Jules: I don't eat dog either.
Vincent: Yeah, but do you consider a dog to be a filthy animal?
Jules: I wouldn't go so far as to call a dog filthy but they're definitely dirty. But, a dog's got personality. Personality goes a long way.
Vincent: Ah, so by that rationale, if a pig had a better personality, he would cease to be a filthy animal. Is that true?
Jules: Well we'd have to be talkin' about one charming motherfuckin' pig. I mean he'd have to be ten times more charmin' than that Arnold on Green Acres, you know what I'm sayin'?
Pulp Fiction
http://www.imdb.com/title/tt0110912/
Reservoir Dogs
http://www.imdb.com/title/tt0105236/
Vincent: Want some bacon?
Jules: No man, I don't eat pork.
Vincent: Are you Jewish?
Jules: Nah, I ain't Jewish, I just don't dig on swine, that's all.
Vincent: Why not?
Jules: Pigs are filthy animals. I don't eat filthy animals.
Vincent: Bacon tastes gooood. Pork chops taste gooood.
Jules: Hey, sewer rat may taste like pumpkin pie, but I'd never know 'cause I wouldn't eat the filthy motherfucker. Pigs sleep and root in shit. That's a filthy animal. I ain't eat nothin' that ain't got sense enough to disregard its own feces.
Vincent: How about a dog? Dogs eats its own feces.
Jules: I don't eat dog either.
Vincent: Yeah, but do you consider a dog to be a filthy animal?
Jules: I wouldn't go so far as to call a dog filthy but they're definitely dirty. But, a dog's got personality. Personality goes a long way.
Vincent: Ah, so by that rationale, if a pig had a better personality, he would cease to be a filthy animal. Is that true?
Jules: Well we'd have to be talkin' about one charming motherfuckin' pig. I mean he'd have to be ten times more charmin' than that Arnold on Green Acres, you know what I'm sayin'?
Pulp Fiction
http://www.imdb.com/title/tt0110912/
Reservoir Dogs
http://www.imdb.com/title/tt0105236/
Sunday, October 2, 2011
Fiction Writing: First Dialogue Assignment
Stretch's wirey body trembled with the onset of a small shiver from the fresh, brisk air, "Ah! It's almost time!"
Blue raised a brow, "Almost time for what?" He took another hissing hit from the blunt.
"Hustle season, nigga! You don't feel that fall air coming?" He grinned.
"Hell yeah. It's fucking chilly as hell out here tonight," Blue's speech was strained as he held the smoke in his lungs for a few more seconds before blowing it toward the night sky, "but why fall?"
Stretch gingerly snatched the blunt from Blue's offering fingertips, "I can't believe you! It's fucking common sense. Everything comes out in the fall, man!"
Blue nodded with a chuckle, "And you plan to capitalize on this?"
"Nothing has stopped me yet," Stretch answered coughing up herb vapors, "You see people like you make these things too complicated for yourselves."
Blue scoffed, "Hold up! I was just asking you-"
Stretch held up a hand as the smoke from another hit vacated his lungs, "Man I heard your tone," he gave Blue the "Seriously?" look, "You underestimate your own ingenuity."
Blue's lips curled into an amused smirk, "OK Master Guru guy. Enlighten me."
"Like I said, in the fall is when everything comes out. Everyone is going to want these things. All I have to do is get my hands on it, and then make a profit letting them get their hands on it," Stretch held his hands out in admiration of his own greatness, "You see? Simple."
"Man give me a break. Easier-," Blue pointed to the blunt still held by Stretch, "Let me get that," he was passed the blunt and took another pull before continuing, "Easier said than done."
Stretch's smile widened, "You'd be surprised just how easy it really is to fill in the blanks, New Kid."
Blue raised a brow, "Almost time for what?" He took another hissing hit from the blunt.
"Hustle season, nigga! You don't feel that fall air coming?" He grinned.
"Hell yeah. It's fucking chilly as hell out here tonight," Blue's speech was strained as he held the smoke in his lungs for a few more seconds before blowing it toward the night sky, "but why fall?"
Stretch gingerly snatched the blunt from Blue's offering fingertips, "I can't believe you! It's fucking common sense. Everything comes out in the fall, man!"
Blue nodded with a chuckle, "And you plan to capitalize on this?"
"Nothing has stopped me yet," Stretch answered coughing up herb vapors, "You see people like you make these things too complicated for yourselves."
Blue scoffed, "Hold up! I was just asking you-"
Stretch held up a hand as the smoke from another hit vacated his lungs, "Man I heard your tone," he gave Blue the "Seriously?" look, "You underestimate your own ingenuity."
Blue's lips curled into an amused smirk, "OK Master Guru guy. Enlighten me."
"Like I said, in the fall is when everything comes out. Everyone is going to want these things. All I have to do is get my hands on it, and then make a profit letting them get their hands on it," Stretch held his hands out in admiration of his own greatness, "You see? Simple."
"Man give me a break. Easier-," Blue pointed to the blunt still held by Stretch, "Let me get that," he was passed the blunt and took another pull before continuing, "Easier said than done."
Stretch's smile widened, "You'd be surprised just how easy it really is to fill in the blanks, New Kid."
Wednesday, March 23, 2011
Thy Will
"Thy Will" is my romance/drama novel concept.
The story follows Azriel, a guardian angel who begins to resent the wishes of his Master and fellow angels concerning humans.
Having seen enough death and heartache to last him thousands of lifetimes, Azriel can't help but be intrigued by the newest person he has been charged with watching over: Shamira (this name isn't final). Azriel watches over Shamira throughout her life as she endures the loss of many friends, family, and other loved ones while still remaining faithful to God in her religious beliefs despite how many people have been taken from her by His angels over the course of her life. Azriel soon develops feelings for Shamira, wishing he could be there for her. When Death comes to claim Shamira's father, her only remaining family, Azriel is disgusted with just standing by idly and watching. Azriel drives away Death against his Master's wishes. Immediately after the short battle, for a reason unbeknownst to Azriel, Shamira can suddenly see him. Azriel then does his best to look after Shamira and her father as he accepts, and begins to deal with the dire consequences of his actions.
For the two pages of fiction we had to hand in this week, I wrote the scene where Azriel drives away Death to keep Shamira's father alive.
The story follows Azriel, a guardian angel who begins to resent the wishes of his Master and fellow angels concerning humans.
Having seen enough death and heartache to last him thousands of lifetimes, Azriel can't help but be intrigued by the newest person he has been charged with watching over: Shamira (this name isn't final). Azriel watches over Shamira throughout her life as she endures the loss of many friends, family, and other loved ones while still remaining faithful to God in her religious beliefs despite how many people have been taken from her by His angels over the course of her life. Azriel soon develops feelings for Shamira, wishing he could be there for her. When Death comes to claim Shamira's father, her only remaining family, Azriel is disgusted with just standing by idly and watching. Azriel drives away Death against his Master's wishes. Immediately after the short battle, for a reason unbeknownst to Azriel, Shamira can suddenly see him. Azriel then does his best to look after Shamira and her father as he accepts, and begins to deal with the dire consequences of his actions.
For the two pages of fiction we had to hand in this week, I wrote the scene where Azriel drives away Death to keep Shamira's father alive.
Blade Master
I guess you could place this novel concept of mine in the category of fantasy/adventure. "Blade Master" is heavily inspired by animes I've seen, and video games I've played.
I don't have a very solid idea of what the plot is going to be like just yet, but I do have the concept down.
In Japanese legend there are stories of two master sword smiths, Masamune and Muramasa. Masamune's art was refined with benevolence. Muramasa's art was defined by malevolence. Legend says that these two craftsmen, in order to see who was better, each put their swords in a stream to see how the blades would affect the leaves traveling downstream. One version of this story says that the leaves were cut my Muramasa's blade, and then healed by Masamune's. Legend says that Muramasa's blades could not be returned to their scabbards unless they tasted blood first. This drove many Muramasa wielders to insanity for they could end up having to hurt themselves or a loved one before being able to put the sword away.
I'm taking this concept and running with it pretty much. The main character is none other than a young Miyamoto Musashi, non-fictional legendary samurai, and he has in his possession one Masamune blade and one Muramasa blade, possibly the finest blades the two sword smiths have ever crafted.
This is significant because in this story no one has ever been able to wield both a Masamune and a Muramasa simultaneously. Yet Musashi has developed a style through which both blades can work harmoniously to take down any adversary no matter how challenging.
Here's how I envision the blades to be in my novel:
The Masamune blade is an all-powerful, unbreakable sword that can cut through just about anything (save for another Masamune or a Muramasa). However, should innocent blood be spilled by the sword, it will lose its power.
The Muramasa blade is another all-powerful, unbreakable sword that can cut through just about anything with the exceptions mentioned above. However, it must taste blood within seconds of drawing it before it can be put away lest the wielder wishes to succumb to insanity.
So that's the basic break-down of what I have in mind for this novel. I'm still working on it. Let me know what you think of what I have so far.
I don't have a very solid idea of what the plot is going to be like just yet, but I do have the concept down.
In Japanese legend there are stories of two master sword smiths, Masamune and Muramasa. Masamune's art was refined with benevolence. Muramasa's art was defined by malevolence. Legend says that these two craftsmen, in order to see who was better, each put their swords in a stream to see how the blades would affect the leaves traveling downstream. One version of this story says that the leaves were cut my Muramasa's blade, and then healed by Masamune's. Legend says that Muramasa's blades could not be returned to their scabbards unless they tasted blood first. This drove many Muramasa wielders to insanity for they could end up having to hurt themselves or a loved one before being able to put the sword away.
I'm taking this concept and running with it pretty much. The main character is none other than a young Miyamoto Musashi, non-fictional legendary samurai, and he has in his possession one Masamune blade and one Muramasa blade, possibly the finest blades the two sword smiths have ever crafted.
This is significant because in this story no one has ever been able to wield both a Masamune and a Muramasa simultaneously. Yet Musashi has developed a style through which both blades can work harmoniously to take down any adversary no matter how challenging.
Here's how I envision the blades to be in my novel:
The Masamune blade is an all-powerful, unbreakable sword that can cut through just about anything (save for another Masamune or a Muramasa). However, should innocent blood be spilled by the sword, it will lose its power.
The Muramasa blade is another all-powerful, unbreakable sword that can cut through just about anything with the exceptions mentioned above. However, it must taste blood within seconds of drawing it before it can be put away lest the wielder wishes to succumb to insanity.
So that's the basic break-down of what I have in mind for this novel. I'm still working on it. Let me know what you think of what I have so far.
Slum 46
"Slum 46" is my crime-drama, sprinkled with some sci-fi, novel idea that I have been the most active with lately. It's semi-autobiographical (enormous stress on "semi").
I haven't decided whether I want it to take place in its own universe, or if I want the setting to be within our universe. Either way, you're not going to be able to recognize the world I paint for you.
"Slum 46" is about a young man who goes by the alias Blue. Blue lives in an enormous, futuristic walled off city that he only knows as City 6. This city is separated into several different sections called slums. Each slum has their own respective number. These slums are about the size of a typical city you or I live in. So City 6 overall is quite enormous.
The story follows the events that happen around Blue when he drops out of school, and meets a mysterious hood who goes by the name Smooth, and takes on a life of crime in the slum with the highest crime rate, Slum 46. However, the denizens of Slum 46 seem to know something about the government running City 6, and something about the world beyond the walls of the city none of the other residents of City 6 would have ever thought possible.
This is a story about the grind, trust, corruption, rebellion, and peace.
I haven't decided whether I want it to take place in its own universe, or if I want the setting to be within our universe. Either way, you're not going to be able to recognize the world I paint for you.
"Slum 46" is about a young man who goes by the alias Blue. Blue lives in an enormous, futuristic walled off city that he only knows as City 6. This city is separated into several different sections called slums. Each slum has their own respective number. These slums are about the size of a typical city you or I live in. So City 6 overall is quite enormous.
The story follows the events that happen around Blue when he drops out of school, and meets a mysterious hood who goes by the name Smooth, and takes on a life of crime in the slum with the highest crime rate, Slum 46. However, the denizens of Slum 46 seem to know something about the government running City 6, and something about the world beyond the walls of the city none of the other residents of City 6 would have ever thought possible.
This is a story about the grind, trust, corruption, rebellion, and peace.
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