Tag Archives: Writing Techniques

How To Plan Your Novel Using The Three-Act Structure

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Writing a novel is hard, especially if you’ve never done it before. You’ve spent hours researching, building your world and becoming an expert on your characters. Now you’re ready for the next step: planning (also known as plotting).

While some people like to write organically (letting the story take you in whatever direction feels right), having a detailed outline can help make the novel-writing process a lot less daunting and overwhelming. But how exactly do you plan a novel?

Essentially, there is no right or wrong way to outline your novel. Each story is different and needs to be told in a different way.

However, if you need a bit more guidance on how to plot out the next bestseller you know you have inside you, the three-act structure might be for you.

Defining The Three-Act Structure

The three-act structure is a popular screenwriting technique that revolves around constantly creating set-ups, conflicts and resolutions. With this structure, a novel is divided into three acts: a beginning, a middle and an end.

There are many versions of the three-act structure. In some, the middle is the same size as the beginning and end put together.

However, when you’re first starting out, it’s much easier to plan each act to be the same length. In this version of the three-act structure, each act is divided into nine chapters for 27 chapters in total. The nine chapters in each act are also split into three blocks of three chapters each.

This version creates a fast-paced novel that invites readers to keep turning your pages. If you’re still unconvinced, for an example Suzanne Collins’ bestselling young adult Hunger Games trilogy follows this structure almost perfectly.

Throughout this article, we’ll take a look at what each section of the three-act structure involves, using examples from The Hunger Games to demonstrate each element. (SPOILER ALERT: If you haven’t read or seen The Hunger Games and don’t want key plot points spoiled, read on at your own risk!)

Act One (set-up)

The first act is used to introduce the reader to the world your characters live in and to set up the coming conflict.

Block One – Introduce Hero in Ordinary World

  • Chapter 1: Introduction (set up)
  • Chapter 2: Inciting incident (conflict)
  • Chapter 3: Immediate reaction (resolution)

In the first chapter, you need to set up your hero in their ordinary world. Introduce us to your characters and the relationships and conflicts between them. In The Hunger Games, the first chapter introduces the dystopian world and the Reaping.

The inciting incident in Chapter Two is the event or decision that sets your hero along the path of your narrative. The inciting incident is really important – without it, your story would not occur. The inciting incident in The Hunger Games is Katniss volunteering herself for the Hunger Games to save her sister; if Katniss didn’t volunteer, the rest of the novel would not have happened.

In the third chapter, the hero reacts to the inciting incident. The immediate reaction in The Hunger Games is when Katniss’ family and friends come to say goodbye to her before she leaves for the Games.

Block Two – Problem Disrupts Hero’s Life

  • Chapter 4: Reaction (set-up)
  • Chapter 5: Action (conflict)
  • Chapter 6: Consequence (resolution)

Chapter Four is where the hero reacts to and reflects on the long-term impacts of the inciting incident. In Chapter Four, Katniss reflects on the impact her death would have on her community, especially her mother and sister. Katniss also starts to discuss strategy with Haymitch, her mentor.

As a result of their reflection, the hero decides to take action and do something to change their situation in Chapter Five. In The Hunger Games, Katniss takes her first step towards winning the Games in the parade of tributes. Her fiery dress and attitude win over the crowd.

Chapter Six details the immediate consequences of the action the hero took in Chapter Five. In The Hunger Games, Katniss discusses the success of the parade with Haymitch. She also reflects on her past and the difficulty of rebellion.

Block Three – Hero’s Life Changes Direction

  • Chapter 7: Pressure (set-up)
  • Chapter 8: Pinch (conflict)
  • Chapter 9: Push (resolution)

The hero’s life has changed as a result of the action they took in Chapter Five, and this creates a lot of pressure and stress in Chapter Seven. The pressure is obvious in Chapter Seven of The Hunger Games. Here, Katniss has her demonstration where she shows the Gamemakers her archery skills by shooting an arrow towards them in frustration.

In Chapter Eight, the first pinch – or plot twist – occurs. A good plot twist is something completely unexpected for the reader. The first pinch in The Hunger Games is Katniss receiving a score of 11, something completely unexpected.

As a result of the pinch, the hero is pushed into a new world in Chapter Nine. The majority of this chapter in The Hunger Games centres around the television interviews with Caesar, the last formality before the tributes are sent into the Games. Here, Peeta declares his love for Katniss.

Act Two (conflict)

The second act is full of conflict. Character development is crucial in the second act; the hero at the end of Act One does not yet have the tools (whether those tools be emotional, physical or literal items the hero must retrieve) to succeed in the third act, so Act Two is all about the journey.

Block Four – Hero Explores New World

  • Chapter 10: New world (set-up)
  • Chapter 11: Fun and games (event/conflict)
  • Chapter 12: Old world contrast (resolution)

Chapter 10 allows you to introduce the reader to the new world. What has changed, and how does the hero feel about it? In Chapter 10, Katniss finally enters the Hunger Games.

In Chapter 11, the hero can take a break and have a little fun. Maybe they have a date with their new lover, or maybe they do something they’ve never done before. Here, Katniss travels through the arena looking for water, and while she is still in an intense environment, she has a bit of a break.

Chapter 12 is time for the hero to compare their current world to how things were at the novel’s beginning. After realising Peeta has teamed up with her enemies, Katniss reflects on their relationship and compares this Peeta to the person she was friends with.

Block Five – Crisis of New World

  • Chapter 13: Build-up (set-up)
  • Chapter 14: Midpoint (conflict)
  • Chapter 15: Reversal (resolution)

The fifth block is all about the midpoint, or the main crisis or conflict of your novel.

Chapter 13 is the build-up to the midpoint and Chapter 14 is the midpoint itself. A good midpoint will dramatically change the hero or impact their life in a negative way. In The Hunger Games, Katniss is pushed towards the Career tributes in Chapter 13, and escapes from them after Peeta saves her in Chapter 14.

Chapter 15 is the immediate reaction or consequence of the midpoint. Here, Katniss makes an alliance with Rue and they formulate a plan to take down the Career tributes.

Block Six – Finding a Solution

  • Chapter 16: Reaction (set-up)
  • Chapter 17: Action (conflict)
  • Chapter 18: Dedication (resolution)

In Chapter 16, the hero reflects on the long-term impacts of the midpoint. In The Hunger Games, Katniss realises that to take down the Careers, they need to stop their food supply.

In Chapter 17, the hero decides to take action to resolve the problem created by the midpoint; however, they realise the enormity of their task when things don’t necessarily go to plan. In Chapter 17, Katniss blows up the Career’s food supply, but before she and Rue can celebrate, Rue is attacked by another tribute.

Despite the set-backs, in Chapter 18 the hero decides that they will succeed no matter what. Rue dies in Chapter 18, and Katniss promises to win for her.

Act Three (resolution)

The final act is all about resolutions. In the third act, the hero needs to find solutions to the conflict created by the midpoint, and you as the author need to make sure you tie up all the loose ends.

Block Seven – Victory Seems Impossible

  • Chapter 19: Trials (set-up)
  • Chapter 20: Pinch (event/conflict)
  • Chapter 21: Darkest moment (resolution)

In Chapter 19, the hero faces significant trials. These trials are extremely difficult for the hero and is something the hero has never experienced before. Here, Katniss races to find Peeta and struggles to help save his injured leg.

Chapter 20 is the second pinch, where the hero experiences something completely unexpected that makes everything even worse. In Chapter 20, Peeta’s injury leads to blood poisoning.

This plot twist leads to the darkest moment in Chapter 21 where the thought of success is incomprehensible. Here, Katniss risks everything to get medicine for Peeta, and the chapter ends with her passing out from her own injuries.

Block Eight – Hero Finds Power

  • Chapter 22: Power within (set-up)
  • Chapter 23: Action (conflict)
  • Chapter 24: Converge (resolution)

Having hit rock-bottom, the hero remembers their desire to succeed in Chapter 18 and finds the power within to continue on. In Chapter 22, Katniss and Peeta both start to recover from their injuries.

After deciding they can do it, the hero takes action in Chapter 23, and this action causes the plotlines to converge and come together in Chapter 24. In Chapter 23, Peeta and Katniss realise how close they are to winning, and in Chapter 24 all of the tributes are pushed towards the lake by the Gamemakers for the final battle.

Block Nine – Hero Fights and Wins

  • Chapter 25: Battle (set-up)
  • Chapter 26: Climax (conflict)
  • Chapter 27: Resolution (resolution)

Block nine is the finale. In Chapter 25, the character has one last battle. This doesn’t have to be a physical battle – it could be a fight between friends or lovers, or a mental battle your hero has with themselves. Here, Peeta and Katniss try to survive the freezing night and kill Cato.

Chapter 26 is the final climax. The decisions the hero makes here will impact the rest of their life; it is the point of no return. In The Hunger Games, Katniss and Peeta pretend to eat the poisonous berries, which leads to President Snow stopping them by declaring them both winners. However, Katniss realises that despite winning the Games, she’s now in even more danger.

Chapter 27 is the resolution or the immediate reaction to the hero’s decision in the last chapter. Here, Katniss and Peeta finally get to go home.

The way you end your novel is up to you. You might choose to explain everything, or leave some things (or a lot of things) up to your reader’s imagination. It could be a happy heroic ending, or it could be a tragedy where everyone dies.

Either way, congratulations! You’ve planned a novel.

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One last thing to note: When you start to plan your novel using this structure it’s important to remember it’s just a guideline. You don’t have to change your story to suit the structure; you can change the structure to suit your story. If your plot twist would make more sense earlier or later, move it. These aren’t hard rules. Do what is right for your story.  So take a deep breath, set yourself up in your favourite place to write and start planning!

Via: https://writersedit.com/plan-novel-using-three-act-structure/

10 Ways To Develop A Unique Writing Style

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Creating and refining your own unique style of writing is important, particularly in the modern Internet age, where a high content turnover means readers are constantly in pursuit of something original and clever. However, it’s often difficult – especially when you’re just starting out – to fine-tune the way you write and embody the qualities that make your voice distinct and innovative.

So how exactly do you tease out those qualities? How do you then apply them to the actual process of writing? Here are ten hot tips to get you started today.

1. Use experiences as a springboard

Start with what you know. If you begin your writing process in a world that you’re familiar with, it’ll generally be much easier for you to slip on your characters’ shoes and immerse yourself into the setting of your story. In fact, J. K. Rowling herself based one of her best-known and most complex characters, Professor Snape, on her chemistry teacher.

Be inspired by real people, real emotions and real events. Reflect on your own journey as a human being. Reflect on small moments that seem to have permanently burned themselves into your memory, and let those reflections guide the philosophy that underpins your writing. As author Kashmira Sheth points out:

The emotional growth of your characters is one place where you can use your own experiences much more deeply. If you are writing about the summer between sophomore and junior year, then you can go back to your emotional state of that summer. Was it the summer of heartbreak, angst, rebellion, disappointment, or sorrow? How did you survive and persist? How did your emotions manifest themselves in your interactions with others? What did you learn? How did that one pivotal summer make you grow and change?”

If the content of your writing leaves you with deep and nostalgic feeling of been there, done that, then it’ll more likely exude a profound sense of realism and empathy – one that will resonate and connect with readers more powerfully.

2. Be aware of what makes your observations unique

Everyone sees the world through their own unconventional lens, but not everyone is aware of the existence of those lenses. That’s when it becomes important to take a step back and become aware.

For instance, if you’re observing the way people engage in conversation, take note not only of the dialogue, but also of the silences, of the interruptions and of the speakers’ unconscious habits like pushing up their glasses, adjusting the collar of their T-shirt or tapping their foot against the carpet. Ask yourself why those habits are emerging in the first place. Are they nervous? Are they scared of the other person’s reaction to a particular piece of news? What does this say about their relationship with one another?

As writer Annie Evett argues in her article on observational writing,

Good observational writing utilises all of the senses in describing the event, character or item; transporting your reader easily into the world you are creating or describing.”

That being said, one question you may ask is: how exactly do you utilise these senses?

3. Awaken all senses

When the reader takes a dip into the waters of your writing, they want to feel something. They want to immerse themselves in imagery that extends beyond a mere description of what can be seen. So it’s your job as the writer to ignite as many of their senses as possible.

Let’s say that you’re writing about a bushfire approaching from the distance. You may initially choose to illustrate the way the fire rapidly gains speed, leaping from tree to tree, an angry flame that cannot be tamed. But wouldn’t your setting be much more evocative if you gave the reader the capacity to hear by assaulting their ears with the strange silence that falls upon the forest, with the sudden roaring of fire as it tears through this silence, with the protagonist’s faint coughs as her lungs choke up with smoke?

And wouldn’t your scene be even more vivid if you also engaged the reader with descriptions of the scent of smoke blowing into her cheeks, of the vile taste of charcoal in her mouth, and of the soft fabric of her blouse battering against her skin as it fights a battle it knows it cannot win?

Writer of the Udemy Blog Margo Jurgens provides some further tips and advice on how to best approach writing sensory imagery.

4. Show with a spin

One of the most common pieces of advice given to writers is ‘Show, don’t tell’ – but it’s also important that you enact the ‘show’ part with a twist. Avoid using the same old words to paint a picture. Try adopting a different approach or perspective.

Let’s take the bushfire example from above. Rather than using phrases like ‘The fire roared’ or ‘Smoke billowed up into the sky’, you might perhaps juxtapose the constant ticking of the clock inside the house with the comparatively erratic rhythms of the fire leaping from treetop to treetop.

You might also use a memory or an anecdote as the transition into your description of the fire’s sudden approach: perhaps the protagonist recalls a time she watched a juggler accidentally drop his flaming torches, and contrasts how quickly the torches were extinguished with how impossible it would be to put out this monstrous bushfire.

5. Avoid clichés

It’s sometimes very easy to fall into the trap of clichés – especially in times of doubt and uncertainty, when you find yourself borrowing the storyline of your favourite novel or imitating the writing style of your favourite author or poet. This can ultimately hinder your potential for originality.

How do you rid your writing of clichés? Writer’s Digest‘s Peter Selgin suggests that the best way to avoid cliché…

… is to practice sincerity. If we’ve come by sensational material honestly, through our own personal experience or imagination, we may rightly claim it as our own. Otherwise, we’d best steer clear. Our stories should be stories that only we can tell, as only we can tell them.”

Brian A. Klems gives 12 examples of clichés that ‘need to be permanently retired’, while Writer’s Web provides some tips on how you can identify and avoid clichés.

6. Be intimate with details

Intimate details are the key to enhancing the vivid quality of your writing. Be specific in your characterisation and descriptions of setting. The subtlest of movements – your protagonist tugging at the hem of his shirt, your villain tapping two fingers against the table – can help build up the mood of your story or poem, accentuating the emotions experienced by your characters.

Being specific in your details means combing through your writing and paring it down, so that it includes only those words that (in some way or form) contribute to the meaning you’re trying to convey to the reader. Word choice becomes crucial here.

Author Kristen Lamb highlights the importance of diction: ‘She bolted from her chair’ is much better than ‘She stood quickly out of the chair’, because the word ‘bolted’ holds a powerful sense of action and urgency that the phrase ‘stood quickly’ simply does not have.

7. Turn objects into metaphors

If you’re looking for inspiration, an effective exercise to get your creative mind pumping is to turn random objects into quirky metaphors. Select any item in your line of vision – a pencil, a typewriter, a mug – and write about it in the greater context of life. This exercise gives you the opportunity to turn something mundane into something totally and utterly original.

For instance, you may decide to write about the blinds by your desk. Perhaps they represent the idea that we have control over the degrees of light and dark within us; when the world inside is cold and grey, all we have to do to warm ourselves up is pull open the blinds and let bars of light in.

Feeling creative enough yet?

8. Create strong, authentic voices

A classic example of writing with a strong, authentic voice is J. D. Salinger’s The Catcher in the Rye – when you read that novel, you cannot help but hear Holden Caulfield’s voice in your head. With the effective use of voice, the reader becomes so deeply submerged in the story, the characters and the underlying meanings that they forget a writer has fabricated this world.

Author Junot Díaz draws from his own characters as examples on how to strengthen the various aspects of voice. Blogger Lorrie Porter focuses more on how you can incorporate strong voice into dialogue.

9. Know the rules of writing, then break them

Don’t be afraid to experiment and to test the limits of what you think you are capable of writing. Take Kurt Vonnegut’s 8 tips on how to write a good short story, for instance. Once you understand his rules, you can start bending them and eventually start breaking them. As Vonnegut himself writes,

The greatest American short story writer of my generation was Flannery O’Connor. She broke practically every one of my rules but the first. Great writers tend to do that.”

10. Write a little every day

As the old saying goes, practice makes perfect! The more you write, the more you will grow conscious of your own writing style and thus be able to improve upon it. Blogger Leo Babauta presents a range of tips on how you can write daily.

You might end up writing a few sentences, a few paragraphs, even a few pages. Quantity doesn’t matter; frequency does. So set aside some time everyday and get writing! A world of words await you. Time to turn on your mind and let your creative juices run free.

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Via: https://writersedit.com/fiction-writing/develop-unique-writing-style/

Literary Devices: Motifs, Symbols and Themes

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Have you ever been reading a story, only to be struck with déjà vu? Perhaps you noticed that roses had just been mentioned for the tenth time. Or daffodils. Or the colour purple. Perhaps you found yourself wondering, ‘Why on earth is this author so obsessed with pineapples?’ But what is it you are really noticing? What are these recurring symbols and images? It may seem like you’ve discovered a strange fetish of the writer, but what you have more likely stumbled upon are motifs.

Just like any other literary device, writers can use motifs to add depth, convey meaning, and/or shape the way a reader receives, responds to, or understands a text. However, before using any literary device, you should first make sure you are familiar with how it works. So, here are the things you may need to know about ‘motif’, before using it in stories of your own.

What is a ‘Motif’?

In literature, a motif can be defined as any recurring image, object, idea, or element within a particular work. However, this definition is not entirely complete. After all, a motif should never be meaningless. In fact, a motif should contribute some form of symbolic significance to the story. For instance, a motif may be used to establish mood and atmosphere, or to reinforce/further explore the overriding themes of a story.

Motif vs. Symbol

As motifs are often symbolic in nature, they can often be mistakenly identified as mere symbols. However, it is important to remember that these two literary devices are not one and the same. So what is the difference between the two? The key difference to note between motifs and symbols is the element of repetition. As we’ve already established, a motif is an item that reoccurs throughout a text. In contrast, a symbol may only appear once. Beyond this, a motif often contributes toward developing the themes of a text, whereas a symbol’s significance may be limited to the particular scene. In this way, a motif may be a symbol, but a symbol is not necessarily a motif.

Motif vs. Theme

Another element ‘motif’ can often be mistaken for is ‘theme’. This is no doubt due to the fact that motif and theme are so closely connected. While a theme can be defined as a key or central idea explored throughout a text, a motif is more a means of embellishing, examining, or reinforcing these central ideas. For instance, a text may examine themes of good versus evil through the repeated images, or ‘motifs’, of light and dark.

Examples of Motif from a Literary Master

The best way to understand any literary device is to study examples of them in action. To better understand ‘motif’ and its relationship with ‘symbol’ and ‘theme’, let’s turn to a literary master, Mr. Edgar Allan Poe. The Fall of the House of Usher is rich with examples of motif. For example, the idea of certain things passing from one state to another is constantly repeated throughout the story. The word “pass” or “passed”, for instance, can be found on no less than seven occasions. On top of this, the very name ‘Usher’ (as in Roderick Usher) is associated with someone who directs us from one place to another. In this way, we can see a motif emerging, relating to the idea of transition.

This motif is also contributing to an overlaying theme – a theme of crossing, or transcending boundaries (particularly those between life and death). Madeline Usher, for example, is portrayed as crossing the boundary between life and death, when she emerges, alive, from her tomb. This theme is further enforced by the motif of decay. From the description of the partially “crumbling” house, and the “decayed trees”, to the description of Roderick Usher, possessing a “cadaverousness of complexion”, the notion of death and decay is clearly repeated throughout. As the very process of decay is itself a transitional state – one from pristine to ruin, we can see how this motif works to symbolise and reinforce the overall theme of crossing the boundary between life and death.

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So now you know more about motif, symbols and themes, try identifying some of your own. The next time you read a novel, take note of the images and elements that reoccur. See how they are used, and what they symbolise. Then get writing, and practice using motifs of your own.

Via: http://writersedit.com/literary-devices-motif/

Unleash Your Creativity With Freewriting

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If you have ever been to a writing class, group, retreat or similar, you will most likely have heard the term “freewriting”.

In freewriting, you write just fast enough so that your hand moves faster than your brain can defend itself. The results are sometimes unpredictable, but the most surprising images, characters, memories and stories can pour out onto the page.

How to Freewrite

What exactly is freewriting?

  • Freewriting is a practice that helps to liberate your writer’s voice and connects you to the vibrant stream of creativity that lies just under the surface of our ordinary thinking.
  • Freewriting can be used to launch you over a writer’s block, to explore painful emotional memories, and to work out problems in a longer work. It can be used for making contact with one’s own unconscious.
  • Freewriting is a simple, structured practice that is flexible and forgiving. It can be used as the base of a writing practice, or spontaneously whenever you want to go deeper into a subject.

A good way to learn freewriting is through a 10-minute timed write.

When we freewrite, we try as much as possible to suspend judgment about what we are writing. It is an exercise in getting out of our own way. You may notice you are writing in a way that is unacceptable or foreign to what you are accustomed to. Try to simply observe the process rather than interrupt it.

Here are some freewriting guidelines, although in the spirit of freewriting freedom, feel free to not follow any that don’t feel right.

  • Use a prompt. If you run out of ideas before the time is up, start writing the prompt and see if a new thought arises. Go with it.
  • Set a timer. Having a reliable timer will free you from being drawn away from what you are writing. If you are moved to, feel free to continue writing after the time has expired until you complete your thought.
  • Keep your pen moving. Don’t stop writing until the timer goes off.
  • Write quickly. Write a little bit faster than your thought formation, even if it’s a little uncomfortable. Messy handwriting is welcome.
  • Use the first word. Don’t try to think of the perfect word, just use the first word that comes to mind and go with it. Don’t worry about paragraphing, subject-verb agreement or even if what you are writing makes sense. Just write.
  • Write crap. Give yourself permission to write a really bad first draft. You can always edit it later, but this permission allows you to do something new. Try to avoid any thoughts about what you are writing. You are just there to propel the pen. Telling yourself it’s okay to write crappy first drafts is incredibly liberating. Try it.
  • Go for it. If the first thing that pops into your mind is ridiculous, go for it. If it’s violent, see where it goes. Be open to the unexpected. After all, you didn’t create these thoughts, did you? Our job is to honour them, allow them to come to light.

Going Longer With Your Freewrites

You can also use a meta-freewrite technique to explore longer works. Look at what you’ve written. If a question is generated when you read it, or you are looking for a solution to a problem you see, use it as a prompt for your freewrite. Keep using it, and the questions it generates, to ask yourself to go deeper into the subject. Be open to what comes up.

Crafting prompts can be good fun, and the simplest prompts sometimes reveal the deepest veins of meaning in our stories. If you’ve written something you would like to explore, use a prompt like “What does this story really mean…” or “What I really want to say is…” to get at a deeper meaning.

For instance: A prompt from Natalie Goldberg that can help with your personal history explorations is “I remember…” Continue to write what comes to your memory and every time you hesitate, write again “I remember …” and start again.

Prospect for stories using prompts like “The most scared I ever got was when…” or “The first time I met…” or “The most momentous trip of my life was…” or “When I was a kid we…”

If you want to develop something you’re writing, look for prompts within the writing itself. What jumps out at you? What has “juice” for you when you read it? There’s your next prompt. Put it at the top of your page and go for it.

Happy writing!

Via: https://www.thebookdesigner.com/unleash-your-creativity-now-how-to-freewrite/

Literary Devices: How To Master Flashback

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Flashback

This week Writer’s Blog will be exploring literary devices to help you along with your writing. Literary devices are techniques and structures writers employ to convey their message and story. When done well, the use of literary devices can alter, manipulate and challenge the way a reader perceives any work. Used masterfully, literary devices influence how a story or essay can be interpreted and analysed, as well as how much the reader enjoys the work. Today’s device is Flashback:

How To Master Flashback

A flashback involves (as the name describes) a scene that moves from the present to the past to reveal something about a character or event within the narrative. Generally in fiction, the use of a flashback constitutes using white space to separate the past from the present, to signal to the reader that there has been a change in time and/or place. In some cases, a writer may choose to use italics (usually if the scene is more of a memory snippet than an actual fully-developed scene, as lots of italicized text irritates some readers and editors).

The best flashbacks are set up by the previous paragraph. In the lead up to the flashback, there is generally a ‘trigger’ – something that causes the protagonist/narrator to recall a particular event or detail of the past. The trigger is explored/explained in the flashback itself which then also reveals new information to the reader.

Flashbacks are an opportunity for the author to provide insight into situations that would otherwise be left unexplained…

Used in short stories, poems, novels, plays and movies, it is one of the most common and most recognisable writing techniques, and when executed well, one of the most effective.

Examples:

  • The Road (film): The director has used flashbacks throughout the whole film to reveal to the viewer how in a post-apocalyptic world, a father and son came to be on the road, homeless and unprotected.
  • Breaking Bad (television series): This series is renowned for doing things differently, and the use of flashback here is no exception. In Breaking Bad, the flashbacks often come first and are then later explained and explored in the next few episodes, setting up a sense of intrigue within its viewers.
  • Harry Potter (book series): Yes, even the Harry Potter novels use flashback. Remember the Pensieve that Dumbledore uses? The reader (and Harry) are transported back in time to relive the memories of Dumbledore and others.

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Tips for Using Flashbacks:

  • Use a trigger to justify taking the reader back into the past. This is the most natural way to introduce scenes from the past as this is actually how we recall memories in real life – we see something that reminds us of an event, person or detail that occurred in the past.
  • Also ensure that you use another trigger or event to bring your character (and reader) back to the present. This gives your reader clear signals as to when you are changing from past to present and present to past, in order to keep them immersed in the story, but not disorientated and confused.
  • Think of these triggers as ‘bookends’ to your flashback – they need to be there to keep this scene neat and tidy, but also shouldn’t stand out like a sore thumb (excuse the cliche).
  • Don’t overdo it. Don’t litter your narrative with multiple flashbacks, this becomes irritating and confusing for the reader, but also questions the validity of you setting your story in the present when more is actually happening in the past… If you find you are doing this often, you might want to have a think about changing when you set your story.
  • Ensure that each flashback contributes to your story in someway or another, whether it reveals something about a particular event, builds upon your characterization of the protagonist or sets up something for further down the track in the narrative – it has to propel the story forward, even though you’re looking back.

For some fantastic tips for writing successful flashbacks, check out this article at Writer’s Digest.

Via: https://writersedit.com/literary-devices-flashback

Literary Devices: How To Master Dialogue

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Dialogue-cropped

This week Writer’s Blog will be exploring literary devices to help you along with your writing. Literary devices are techniques and structures writers employ to convey their message and story. When done well, the use of literary devices can alter, manipulate and challenge the way a reader perceives any work. Used masterfully, literary devices influence how a story or essay can be interpreted and analysed, as well as how much the reader enjoys the work. Today’s device is Dialogue:

How To Master Dialogue

What is dialogue?

“Dialogue is not just quotation. It is grimaces, pauses, adjustments of blouse buttons, doodles on a napkin, and crossings of legs.” – Jerome Stern, Making Shapely Fiction

Not all of the following are used together, however, dialogue consists of four main elements:

  • Spoken words – the direct speech or the words within the quote marks.
  • Speech tags – the words that tell the reader who is speaking and how they are speaking.
  • Actions of the speaker – a description of the speaking character’s actions before, during and after speech.
  • Thoughts or emotional state of the speaker – a description of the speaking character’s emotional state before, during and after speech.

When characters start talking to each other, the story comes to life. A reader can gain a far deeper understanding of a character through their words and actions than they can from the narrative text. A couple of sentences of dialogue can reveal much about the background of a particular character. Are they wealthy or poor? What is their country of origin? Have they been well-educated? Are they feeling happy or sad? All of these questions can be answered with effective dialogue.

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What should dialogue do?

  • Reveal emotions
  • Draw the reader into the characters’ lives
  • Show the reader how the character reacts to different situations, such as pressure, intimacy, hate, love or fear
  • Move the story forward – every piece of dialogue should have a purpose
  • Hint at or tell of coming events
  • Give balance to a story after a long section of narrative
  • Increase the pace of the story
  • Contribute humour
  • Reflect the changes in emotions and lifestyle of your characters

What should dialogue not do?

  • Summarise action that could otherwise be exciting
  • Force-feed information to the reader – tell a character something they would already know, purely to fill in background to the reader
  • Act as padding to achieve a word count
  • Ramble on without the characters learning anything knew or achieving something
  • Sound exactly like real speech, with interruptions, rambling, repetitions and stutters, although these have their place

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Tips for Writing Dialogue

Remember, most people speak quite simply. If you dress up a character’s speech too much it will sound unrealistic.

“If you are using dialogue, say it aloud as you write it. Only then will it have the sound of speech.” – John Steinbeck

Better yet, grab a few friends and act it out, taking note of the speech tags and the actions of the speaker. This can be very entertaining and you’ll be able to see very quickly where your dialogue falls down.

Now over to you.

Via: https://writersedit.com/literary-devices-dialogue

Literary Devices: How To Master Prologue

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Prologue

This week Writer’s Blog will be exploring literary devices to help you along with your writing. Literary devices are techniques and structures writers employ to convey their message and story. When done well, the use of literary devices can alter, manipulate and challenge the way a reader perceives any work. Used masterfully, literary devices influence how a story or essay can be interpreted and analysed, as well as how much the reader enjoys the work. Today’s device is Prologue:

How To Master Prologue

“What’s past is prologue” – William Shakespeare

This comes from Shakespeare’s play, The Tempest, spoken by the character Antonio who suggests that the events of the past set the stage for the present. The quote is engraved on the National Archives Building in Washington, DC, which houses the most important of the United States’ historical documents. But in a literary work, while the prologue itself precedes the beginning of the story, it can contain events of the past or the future.

What is a prologue?

The prologue serves as an introduction, giving readers important information from the past or the future about the text that follows. It may establish the setting, introduce the characters or indicate a theme or moral in the story. Generally, the prologue is short and will only cover one or two pages. Most prologues are written by the author of the work.

A prologue can foreshadow events and conflict in a way that beginning in the middle of the action can’t. It is used when material that you want to include in the opening is out of time sequence with the rest of the story, giving readers information that is otherwise unobtainable within the normal structure of the novel. A prologue must also be a vital part of the whole text, not just added on before the opening chapter for no reason.

The Redwall Series

Popular children’s author Brian Jacques used both a prologue and an epilogue to frame each story in his Redwall series. Jacques uses the prologue effectively to establish the setting and introduce readers to minor characters with a meaningful story to tell. In these opening scenes, the dialogue between the characters is intended to draw the reader in, as much as it does to the characters who are listening in the story.

The Noon Lady of Towitta

In Patricia Sumerling’s mystery, The Noon Lady of Towitta, the unusually long prologue describes the events leading to the arrival of the police on the farm at Towitta, an isolated town in the Flinders Ranges of South Australia. The prologue is straight-forward and written in third person. The story that follows is told from the first person perspective of Mary Schippan, the lady suspected of murdering her younger sister. Mary Schippan could not have given readers a clear picture of the events preceding the police investigation as she was not present, so the author chooses to employ a prologue. Without it, readers don’t have the necessary background required to understand the story and so obtain it outside of the first person structure of Mary’s narrative.

The Da Vinci Code

In Dan Brown’s The Da Vinci Code, the prologue is employed firstly to establish the plot and setting of the book. Opening at the Louvre Museum in Paris, readers are presented with an event at a specific time and place around which the entire novel is plotted. Jacques Sauniere, the curator of the museum, is shot by a mysterious man and must use his dying breaths to keep his secret alive.

“A collection of the world’s most famous paintings seemed to smile down on him like old friends.” – Dan Brown, The Da Vinci Code

The prologue also establishes a significant theme throughout the novel – the importance of art. As he bleeds to death, Sauniere is surrounded by many famous artworks, one of which, we can assume, is Da Vinci’s Mona Lisa, a painting that plays a critical role in the author’s plot.

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Writing an effective prologue

The most important feature of a prologue, like any literary device, is that it serves a purpose. Check to see if your prologue is doing a job. Does it establish the setting? Does it introduce characters, or a theme, or a moral? What does it add to the whole work? If it doesn’t have a clear purpose, you don’t need it.

Tip: Read prologues written by your favourite authors

Search for prologues written by the authors on your bookshelf. They’ve been published, so you can assume that the prologue is well written and employed. Look at the length and the style of the writing. The more prologues you read, the better you will understand when and how to use them effectively, if at all.

Tip: Practice writing first lines

Essentially, if you’re using a prologue, you are starting your book twice so you’ll need two great opening lines.  It can be useful to practise writing clever opening lines, enticing the reader to continue. If you’re already working on something, ask yourself if the first line is the best it can be. Shuffle the words around. Try a selection of synonyms. Work with it and keep practising.

Tip: Write a prologue for a book that doesn’t have one

Choose a novel without a prologue and consider how one could be used. Try to find something in the text to link with your prologue – a theme, the setting, or even some additional background information. Be creative! You could give a character a secret that affects how they respond to events in the story. Don’t feel discouraged if you find that your new prologue doesn’t work – this just means that you are improving your ability to detect ineffective use of the device.

Via: https://writersedit.com/literary-devices-prologue

Literary Devices: How To Master Alternate Point of View

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Points of View

This week Writer’s Blog will be exploring literary devices to help you along with your writing. Literary devices are techniques and structures writers employ to convey their message and story. When done well, the use of literary devices can alter, manipulate and challenge the way a reader perceives any work. Used masterfully, literary devices influence how a story or essay can be interpreted and analysed, as well as how much the reader enjoys the work. Today’s device is Alternate Points of View:

How To Master Alternate Point of View

Alternate Point of View (POV) is a complicated narration form, but, if done the right way, it can make for a captivating read.

This technique combines the depth of a single character’s perspective with the versatility of switching between characters. You can alternate between two characters, or several – but the more you use, the more work you will need to do.

This narration form is paired with either first person POV or limited third person POV. Most commonly, first person alternate POV switches between two characters, but there is nothing stopping you adding more if you can handle it.

You may have heard alternate POV referred to as switching POV, dual POV or multiple POV. ‘POV’ is also sometimes interchanged with ‘perspective’.

Let’s dive into what it all means and how you can use this technique…

When should I use alternate POV narration?

A good way of deciding when to use alternate POV is this: if the story doesn’t need it, stick to single perspective.

Alternate POV is still uncommon enough to distract your reader a little, and some find it frustrating. To avoid this, you want to make sure your story really needs it, and that you do it really well.

This form of narration is all about contrast. The contrast could be in personality, culture or ideology. Whatever the reason, make sure it’s key to the story. If your narrative doesn’t gain anything from each new perspective, cut it back to just one.

Alternate POV is more common in some genres than others. For example, it’s a popular choice in both YA fiction and romance.

“This method allows readers to enjoy getting to know both the hero and heroine intimately by seeing their relationship through both characters’ thoughts.” Gail Gaymer Martin

It’s important to spend a little time thinking about the market and how you’d pitch your alternate POV story, even in the early stages of writing.

If you’re thinking about alternate POV for its practical use of access to different action or location points, it’s worth doing some serious work on the perspectives to make them really pop. This isn’t a narration form that blends in the background; it stands out. So you may as well make the best of its features.

Switching POV within a series

If you’re writing a series, alternate POV can be useful to change things up and sustain interest throughout multiple books.

It’s okay to shake up your pattern a bit with each book. Some series add a new character’s perspective to the mix in the second or third novel as they become more relevant to the plot. Other authors start a series as single-person perspective, and end it alternating between two or more.

As always, you must keep the story’s best interests in mind.

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How to use alternate POV effectively

As we mentioned above, managing alternate POV can be a complicated task. When writing, there are some important considerations to keep in mind to ensure you’re using this technique as effectively as possible.

Here are a few must-dos:

Develop distinctive character voices

Particularly when using first person POV, you want your characters to have clear, distinct voices. This is probably the most important factor of alternate POV, and is a common criticism of stories using this form.

The same way dialogue is tailored to each character, so should their introspection and description of the outside world.

“What’s the point of telling a story from multiple perspectives if the voices aren’t different?”- S. E. Sinkhorn

In alternate POV, character voices drive the story. Make sure your characters don’t just have strong voices, but memorable ones. Giving each character a distinctly different perspective is important to add something unique to the story and help the reader identify who they’re following.

Establish a pattern for your changing POVs

Ideally you’ll want to keep to a pattern, such as character A, then B, then A, then B and so on. Breaking out of a pattern will jar the reader. Sometimes, of course, that’s what you want. The end of Allegiant by Veronica Roth does this particularly well.

Even more important than having a pattern is deciding what POV provides the best tension for each particular moment in the story.

If you find that some chapters are just filling space so you can keep up a pattern, you might want to consider no pattern at all. Repeating the same scene in a different character’s perspective is highly unusual and not recommended, so you need to get it right the first time.

“I ask myself, ‘Who has the most to lose in this situation?’ This question usually makes the best POV character obvious.”- Lisa Walker England

It’s all about reader expectations. If your story starts alternating POV in a set pattern, stick to it. But if there is no clear pattern from the start, you’ll have more freedom to choose who each scene is told through.

Outline your story well before writing

The golden tool for working out your story pattern is doing up an outline. Not only do you need to have clear plots, character arcs and climaxes for each perspective, they need to parallel each other.

Looking at the story as a whole, you should see what character perspective pattern works the most naturally with your story – if you need a pattern at all.

Mark POV switches clearly

Always have a cue when you switch character perspectives, such as the start of a chapter, scene or line break.

“The last thing you want is for the reader to be confused about whose head she’s in. So make sure you give clues right away with setting and internal dialogue before you jump in.” –  Lisa Gail Green

Don’t switch too often. The minimum length to keep the same perspective is one scene. However, if your scenes are short, and you change with each scene, this can be taxing on the reader.

For stories in first person POV, switches should occur only with chapter breaks, and generally each chapter is titled after the perspective character.

When writing in third person POV, it’s good to use the perspective character’s name as soon as possible after the change.

Whether you’re writing in first or third person, make sure to go straight to the character whenever you make a switch. Scenery description can happen in a couple of sentences. Grounding the reader is your biggest priority.

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Pros Of Using Alternate POV

As with any choice you make with your story, each technique has pros and cons. Here are three big pros to consider when thinking about using alternate POV.

1. It allows flexibility

Alternate POV offers a combination of depth and flexibility that is hard to find in any other form.

The plot is progressing in two or more places at once? Just switch over to the other character. You need someone to push the big red button to advance the plot, but your lead character needs to be struggling with self-doubt? You can still take your readers through the thrill of the moment inside another character’s head.

Having said this, it’s important to stick to your characters. You can’t just bring along character perspectives for the sake of convenience. But having multiple character perspectives allows you to weave a bigger, more complicated and diverse story.

2. It can help create tension

Tension is important in any story, and alternate POV has a couple of handy features that make it a little easier. Complicating a situation is one technique that can increase tension. Having different perspectives, with different opinions and worldviews all looking at the same thing, can really ramp things up.

“You don’t want your readers bored, and this POV lets you shift heads and keep the reader on their toes.” – Mac Hopkins

You’re not in the one character’s head all the time. That means the reader will miss bits. And you, as the author, can deliberately conceal parts of the story or character to be revealed when you want; the tension of revealing information can be brought out whenever it suits.

3. It gives you control over pacing

With alternate POV, you have full control over your story’s pacing. The simple techniques of shortening the space between each switch can increase the pace.

At times you can put different character’s climaxes side-by-side. And other times you can splice quieter moments of one character with a character facing something more intense.

Cons Of Using Alternate POV

As with any choice regarding literary techniques, there are also a number of cons to using alternate POV. Here are three of the main disadvantages and difficulties…

1. A lot more character development is needed

A challenge with alternate POV is the amount of foundational character development you need to get started.

A single POV means you dig deep in one character. A broader POV, such as omniscient, means you can work just with characters’ external mannerisms. But in alternate POV, you need to be an expert on any and all characters you alternate between.

“More POV characters means the reader has less of a connection to any one character. It’s a price that must be paid.” – Glen C. Strathy

In many ways, your characters will make or break your story. Of course, you need to pay close attention to plot and all other literary features. But your reader needs to know your perspective characters, and fall in love with them – all of them. In the same space you would use for a single POV story.

2. It can be hard to keep track of things

Just as complication can add tension, if you can’t harness the spirals of thoughts and plots, it can be a struggle to pull together a cohesive story. Alternate POV will be very difficult for anyone who isn’t used to planning, scheduling and keeping track of everything.

It’s easy to lose focus, which can lead to character voices sounding too similar, characters with incomplete arcs, or unbalanced tension across the perspective characters.

3. There’s a risk of head-hopping

Head-hopping is an easy mistake for new writers when using third person alternate POV. Head-hopping refers to changing the perspective character within a scene. If you’re alternating with chapters, it also includes accidentally changing perspective within a chapter.

“When the narrator switches from one character’s thoughts to another’s too quickly, it jars the reader and breaks the intimacy with the scene’s main character.” – Joe Bunting

Mastering the switch point between perspectives is important; it will help you avoid the mistake of head-hopping when you intentionally want to switch.

You’re less likely to unintentionally slip if you focus well on the perspective character. Having clear, distinct characters will help you stay in one head.

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Examples of Multiple POV

Alternate/multiple POV has been around for a long time, but has become more common over the last several years. Reading is one of the best ways to become familiar with a writing technique or form.

Below is a list of novels with alternate POV for you to start cultivating your reading list with:

Alternate POV is an advanced and specialised literary device. But if your story calls for it, and you have a flair for character voices and planning, it can really make for a gripping novel.

Via: https://writersedit.com/literary-devices-alternate-point-view

Literary Devices: How To Master Setting

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Setting

This week Writer’s Blog will be exploring literary devices to help you along with your writing. Literary devices are techniques and structures writers employ to convey their message and story. When done well, the use of literary devices can alter, manipulate and challenge the way a reader perceives any work. Used masterfully, literary devices influence how a story or essay can be interpreted and analysed, as well as how much the reader enjoys the work. Today’s device is Setting:

How To Master Setting

On its most basic level, the setting of your story is simply the location at which your story takes place, like a set to a stage show. This includes the location, the immediate surroundings, the weather and the time. But quite often, the setting is much more than just the ‘where and when’ of your story.

The setting will show much about your characters – their lifestyle, how they respond to recognisable and unfamiliar environments and how they are feeling. The description of an environment familiar to the reader can even direct them to special memories of their own. Rather than simply throwing your characters into an apartment building ‘just because’, consider how that setting will affect your characters and your plot. Think about how the location and time can be symbolic or metaphorical.

Genre

The type of story you are writing will have a significant impact on the way you describe your setting. In a thriller, the author employs dark imagery and metaphor to evoke a feeling of discomfort in the reader.

In a fantasy, the setting is full of mystery, twinkling lights and tree trunks so thick you can’t wrap your arms around them. The characters may stumble upon a misty swamp, escape from a gloomy dungeon or ride on a dragon’s back amongst the orange clouds of an evening sky. The magic is never too far away.

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Research

If your story happens in a real place, be sure to research that place. Many readers love to read about towns and cities where they have lived or places they have visited. It is essential, therefore, that you get your facts straight. If you make up a new building, great, but don’t be too specific about its location. If you go one step further and make up an entirely new place, of course you can do what you like with it but make sure the general geographic details are realistic.

If possible, it helps to spend time in your setting. Absorb the sounds, the sights, the smells and the feelings caused by your environment. Be there at different times of the day. A city street at nine o’clock in the morning on a weekday looks very different on a Saturday night. Check that any flora or fauna you mention can realistically be found in that region of the world. You won’t find a polar bear in the Australian outback (unless your character builds a zoo in Coober Pedy). Also check that your weather patterns are feasible.

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Observation

Observing your environment forms part of your research. You should be on the lookout for ideas whenever you visit a new place. In fact, you should be on the lookout for ideas whenever you visit a familiar place! You might just spot the perfect place for a… [insert action here!]

Many writers, especially those who like to go through rigorous planning stages before starting to write, develop a template on which they write notes about a new setting. These notes can include general impressions at first sight, sensory impressions, climate, style and age of the buildings and even types of transportation. If you do decide to develop such a sheet, you don’t have to fill in every detail for every piece of writing. Or, you might just need to modify your sheet to suit the genre. Nevertheless, the more details you remember, the more realistic your setting will be when you sit down to write. If you’re not into note-taking, newspaper clippings, travel brochures and your own photographs are excellent memory-joggers.

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Escape

Vivid descriptive passages give readers a chance to escape to a totally different world. That is the beauty of reading! You might see the inner-workings of unusual occupations or delve into a dark sanctum with a team of cave divers, facing your own fear of the underground. How does the CEO of a multimillion dollar company survive the rigours of the daily grind? Many authors sprinkle inside information into their settings, details that might otherwise be overlooked by a writer who hasn’t done their research or lacks life experience in the subject on which they are writing.

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Character’s Viewpoint

Try not to spend too many precious words on descriptive passages without showing the setting from your character’s viewpoint. Not only will this keep your readers entertained but they will also understand your character’s mood without telling them directly. If your character wants to be alone, the never-ending line of apple trees in the sun-kissed orchard looks pretty good. But if they’re searching for someone or hiding from a murderer, the apple trees may take on a different, more sinister appearance.

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“As a writer, I’m driven by settings. Others are driven by characters or predicaments, but with me, settings come first” – Jim Lynch

The setting might be the catalyst on which your story is developed. Author Jim Lynch starts writing once he has chosen a ‘where’. But no matter where you choose to start writing, crafting your setting skilfully can take your story to the next level.

Via: http://writersedit.com/literary-devices-setting

Literary Devices: How To Master Theme

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theme books

This week Writer’s Blog will be exploring literary devices to help you along with your writing. Literary devices are techniques and structures writers employ to convey their message and story. When done well, the use of literary devices can alter, manipulate and challenge the way a reader perceives any work. Used masterfully, literary devices influence how a story or essay can be interpreted and analysed, as well as how much the reader enjoys the work. Today’s device is Theme:

How To Master Theme

In my time as an intern at a publishing house, themes emerged as an unlikely yet important factor in defining the most enjoyable and publishable reads. At once simple yet difficult to define, themes are the conceptual framework that ideas spring from and exist in. Despite being typically associated with the realm of readers and critiques rather than writers, they are an essential tool to understand and keep at-the-ready in your writer’s tool kit. Let’s look more deeply into this underrated literary device…

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What Are Themes?

Themes are your story’s message, morals, lessons, driving concepts, key ideas and big questions. They can stem from something concrete such as war, money or family, but they are abstract in nature.

“While the subject of a work is described concretely in terms of its action (e.g. ‘the adventures of a newcomer in the big city’), its theme or themes will be described in more abstract terms (e.g. love, war, revenge, betrayal, fate, etc.).” –  The Oxford Dictionary of Literary Terms

Most themes are “universal”, meaning they can be understood in concept by almost everyone, regardless of race or nationality. They stem from basic human experiences, understanding and lack of understanding. While tricky to pin down with a definition, most people understand theme innately – but it’s important to know that theme is not plot, premise, conflict or concept.

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Why Are They Important?

Whether you’ve planned it or not, chances are your story has at least one theme. And that theme affects everything: the characters, the plot and the setting. Such a powerful and natural device deserves all the attention you can give it.

“The theme of any literary work is the base topic or focus that acts as a foundation for the entire literary piece. The theme links all aspects of the literary work with one another and is basically the main subject.” – Literary Devices

Readers

Thanks mainly to our education system, most readers process stories through themes, so it’s important to be aware of them when you’re writing. Readers may not know what it’s like to be a super-spy, but they understand love and betrayal. Themes are the key to connecting your reader with a foreign experience.

Coherence and Unity

Themes can bring plots, subplots, scenes, settings and characters together as a whole, coherent piece of work. If your work is long enough to have subplots and side characters, they shouldn’t be there just to fill in pages. A subplot’s purpose could be to develop characters or setting, but for it to really feel a part of the story, it should work to develop the same theme/s as the main plot.

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Using Themes

Most writers don’t write with a theme in mind. There’s no rule about when you should start thinking about themes. For a first draft, not thinking of them can be beneficial. Themes emerge naturally in stories, and focusing on other literary devices at first can help you stop sliding into cliché. But if you write a draft and then realise your themes are all over the place, it may take a fair bit of work and reimagining to fix them. The first step when working with themes is, obviously, identifying them. From there, you can make sure they’re performing their role as the story’s framework.

Identifying Themes

More likely than not, high school English has you well-equipped for identifying themes. A theme can be described as a key lesson or question that drives your story or characters. But sometimes you’re so close to the story that it’s harder to see the bigger picture. This is one of those cases where it’s useful to have a writing buddy, but in the circumstance that you’re lacking one, most people should be able to identify a theme in a story.

“Theme doesn’t have to be profound, but it must always be true to the storyteller. One of the most fundamental motives for writing novels is to reveal the truth as you see it, to share your life experiences and show people what this world looks like through your eyes.” – Harvey Chapman

Sometimes the theme you identify doesn’t ring quite right. Trust your writer’s instinct and take some time to ponder the concept and what it means to you regardless of the story. Then, with a new theme (or simply a new angle on the theme), get writing.

Multiple Themes

Sometimes themes are related and work together to strengthen each other, such as the themes of friendship, love and betrayal; others such as family, the environment and life purpose can detract from each other if not well thought out.

Combining too many non-related themes in one work can be messy. When was the last time you read a story that successfully contained the themes of loyalty, friendship, religion, time, the environment, loss, the law, racism and health? Maybe three or four themes from this list could play out in a story, with additional related minor themes. But stretching a story across too many unrelated themes can lead to confusion, superficiality and a lack of unity.

Thematic Write / Edit

Now you know your themes, it’s time to write or edit with these firmly in mind. If you find a scene or a side-comment from a character touches on another theme, seriously think about whether it is necessary. If not, change or delete it. If it is, think of ways to achieve the same goal without involving a new theme.

Everything can build and develop theme. Plot, motifs and characters are great places to start, but the list is endless. Even setting can tie into theme through the way it affects atmosphere and meaning. If your theme’s idea of “love conquers all” reaches its peak in a graveyard, you’d want to be aiming for a Romeo & Juliet style of “love conquers all, even death”.

“If you’re working on a theme involving sacrifice, you don’t want to have your characters making sacrifices in every chapter. Theme works best when it’s subtle.” –Melissa Donovan

Sticking to your themes is important but, having said that, so is subtlety. Theme is important, but so are plot, characters and plausibility. A useful tip for not getting too repetitive with your theme is to look at it from different or opposing perspectives. Consider the different ways love is portrayed in Pride and Prejudice, all the while leading to the one idea of marrying for love.

“Theme is life itself, as manifested in our stories, as seen through our characters, and as experienced through our plots.” – Courtney Carpenter

Themes are the framework of stories – a literary device that shouldn’t be forgotten. They add meaning to your work, draw your reader in and pull everything together as a whole. Be sure to keep this tool close by whenever you write.

Via https://writersedit.com/literary-devices-theme