Dramatic Action Is More Than Doing Stuff

Often the reason a scene doesn’t work, or doesn’t seem to have any life to it, is because what’s happening in the scene isn’t very interesting.

People may be doing things, moving around, attempting to reach their goals, but how they’re going about is too straightforward or too easy.

There are various ways to achieve things in life that are reasonable and sensible. You want to be a doctor, you go to medical school and study hard. If you portray that within a story it may feel realistic and true, but it won’t be very gripping.

There is more to a good story than holding a mirror up to life.

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Excessive Detail Can Kill Your Story

The difficulty with coming up with a story is that you start with no frame of reference. There’s you and there’s the blank page.

The advantage of writing description is you have a definite place to start. You may use your skill and talent to augment it, but when you describe a mug, you have a pretty good idea what a mug looks like to get you started.

This is why aspiring writers will often bury themselves in long descriptions. Because it’s easier. But that’s also why it’s less impressive, no matter how beautiful the prose. And why you have to police yourself much more rigorously.

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Writers Show Things Worth Showing

The job of a writer is not to describe a story the way you would describe an object to a blind person. If the main character is wearing a blue cardigan and you describe the blue cardigan so the reader now knows exactly what kind of blue cardigan it is, so what? What difference does that make?

The task is not to make sure the reader can see what happens in the story, it’s to make sure they can understand what happens in the story.

To some degree, in order to understand what’s going on you have to be able to see it, but not all things you see add to your unerstandung. Too much description will become overwhelming and be blinding rather than illuminating.

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K is for Kill Your Darlings?

This well-known phrase, attributed to various people, basically means that sometimes we hang onto something in the a purely because we like the sound of it. It may be irrelevant, it may be long winded or unbalancing, it may disrupt flow and pace, but because it’s clever, or funny or lyrical, we see it as having earned its place.  I think we all know when we've written a nicely turned out phrase and who wouldn't want to show that off? The problem is it means the rest of the narrative suffers and, difficult as it may be, the sage thing to do is to remove it.

I don't necessarily agree.

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B is for Backstory-a-go-go

Let me tell you a joke. Two men walk into a bar. And the barman says, “Welcome to the Trapatonni Bar and Grill, first opened in 1932 by Giuseppe Trapattoni, a squat Sicilian who left his homeland with only the shirt on his back and a dream that one day…”

How much more of Giuseppe's story would it take for you to realise the background information had nothing to do with the joke? Not long, I'm guessing.

It used to be different.

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Go with the flow

Apart from what a story is about, there is also the matter of how it is written. Once the reader is caught up in the story they can find themselves being drawn irresistibly through the exciting parts but just as irresistibly through slower sections. To some degree this is to do with being engaged with the story overall and the characters, but it is also to do with the way it is written. The way the words are put together, the construction of the narrative, the syntax used to create a rhythm.

Some people are obviously just gifted in this regard. They naturally put words together in an attractive way. But that doesn't mean it can't be learnt. On the most basic level there is spelling and grammar and typos. Just being able to read the text will make the flow better. But assuming those things are at a competent level, there is  another level of sophistication beyond that, which will make the narrative flow.

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Seeing is believing

The problem with most obvious and familiar emotions is that a word like ‘angry’ gives us an instant idea of what angry means, but not a picture. But when you refer to a specific time when a specific character got angry, what does that really mean? What does it look like? All you really convey is a general, clichéd concept of the kind of mood that person was in. You don’t put the reader in the scene, seeing it.

There are two ways to overcome this.

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You can't trust what people say...

Behold, my powers of description!

Of all the different aspects of writing a story (character, story, plotting, theme, pace, suspense, what-have-you) by far the easiest to get on the page is description.  You may not know who Jack is, what he’s going to do or how he’s going to do it, but you can still get 400 words down about the boots he wears and the view from his window.

Describing stuff is a necessary part of any story, but it can also go on for quite a while. Certain genres suit a more flowery style (romance, fantasy, historical fiction) and literary fiction in general can tend towards a more deliberative use of language. But it's not enough to describe something well, you also have to know why you're describing it.

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