November 2013: Romance Short Story Competition Report
I had no idea that the word ROMANCE meant such different things to so many writers! Gone are the days of a gentle romance with a little hiccup along the path to everlasting happiness and of course, marriage to Mr Right. And a good thing too. Although without exception, all of the stories had a happy or at least, a satisfactory ending, I felt there was too much conflict in some, although not all, of the stories. Arguments, betrayal and resentment flared off the pages and the way the problems were resolved into a satisfying conclusion was over too soon, tacked on almost as an afterthought in some cases.
However most of them had a good strong plot line, which made up for it! But while judging, I was thinking “Romance” and looking for the most romantic entry. This meant some stories didn’t make it for sheer lack of romance. This doesn’t mean they’re weren’t well written – they could be submitted to another competition with more successful results. Another thing- a couple of the heroines can only be described as doormats! Spineless! In a modern day romance the girls HAVE to be feisty, able to hold their own in the man’s world and take no #$## from them.
There were no general weaknesses that I could pin point. A bit of proof reading would have helped some of them – NEVER submit your story late at night- keep it one more day for another read before pressing “ Send”. (Short Story writing 101!) And a couple had very mixed tenses which didn’t help. This is so easy to fix – show your story to a friend and ask them for their un-sugar coated opinion of any grammar mistakes.
One comment I have to make: Subtlety was not a strong point in any of the stories, bar The End of the Line. What was going to happen was very predictable,(although not in The Lady Friend) and it was just a matter of how we were going to get there, which of course made the stories different. If you’re thinking of submitting a story, try to introduce more characters so the outcome is not too obvious. Otherwise you can get a rejection with the single word ’Predicable” across the top. Woman’s Weekly UK is especially good at this scathing comment. On the other hand People’s Friend loves cosy and predicable but wants deep insight into the characters (who should never swear, drink or even think of divorce. In a word, unrealistic).
Most of the stories showed an easy, confident writing skill. There’s considerable writing talent here- how many of you are subbing your work to magazines, anthologies and on-line competitions? One of the entries, Losing Lucy, had the feeling of a story you could find in You magazine- its cheeky, has a modern zing to it but is 1000 words too long. Tweak it!
The Lady Friend was a delightful story, clever and well written but it was more about the close relationship between the little boy and man. The romantic touch at the end was really nice, but there should have been a bit more of it. Maybe sub this to an on-line short story site?
Most of them had taken the “ start with a good hook` and opened with a bang…Pondering had the heroine throwing her engagement ring into the river, and then filling us in with back story adding up to this. True Heart had the heroine speeding recklessly down a bad road in the dark and nearly running over a man. Who she then fell in love with.
For me, The End of the Line was just about everything a Romance should be. It was beautifully written with terrific imagery right the way through. It had a strong plot, pulsing with tension, it had both kinds of romance (sex- well almost- and true affection once the husband and wife had sorted themselves out) and it was subtle.
It began with the elderly man standing at the railway station where he used to meet his amour once a month, and thinking back with nostalgia to what might have been and what nearly happened. It was one of those stories which stick in the mind of the reader.
So for me:
1 The end of the Line
2 Losing Lucy
3 The Lady Friend.
Honourable mention: True Heart. For the feistiest heroine of them all!
October 2013: Flash Fiction Competition Report
On the whole the standard of entries was quite good. As a writer it is very important to remember grammar and spelling. It can make you look brilliant or awful. Another important aspect is the Title of the story. Titles are very important. A Title must entice me to read that story.
Stories that stood out include, ‘Rejection’ and ‘Deerhunter’ and ‘Vigilante.’ It is interesting to note that quite a few of the stories included wildlife in the tale. A reflection on what is on the mind of society at the moment.
The ending of each tale was very well done and the writers need to be commended for this. As a writer it is important to read a great deal and also write a great deal. Learn from the masters.
Well done on some great entries.
Remember to keep writing.
October 2013: Poetry Competition Report
THE entries are of a range of themes, lengths and rhyme schemes. To generalise, each pursues a line of humour, as required for the competition, and each has its internal there certainly is some humour. How does one select winners and runners-up from this fairly wide-ranging entry? First of all there is the quality of their humour. Is it really funny? Then one thinks of the humorous poetry of writers such as Edward Lear, Ogden Nash and ee cummings. One thinks also of Shakespeare’s line in Hamlet: “Brevity is the soul of wit.” In a competition of this sort, one surely then looks for the deft twist in a relatively brief
piece. Using these criteria, I arrive at the following rankings:
1. THOUGHTLESS, by A. Hubby. (This is grim humour but humour it is).
2. ST VALENTINE’S DAY MASCARA, by Maverick. (The title itself is funny).
3. THE WITCH AND THE WIZARD, by Quadriga. (This is nice off-beat treatment of a very traditional theme).
Highly Commended (i): THE MAGIC TREE, by Mariposa. (This neatly captures a feature of our suburban life).
Highly Commended (ii): PARADOX, by B. Eaton (This, as I say, broke the rules of entry but in an amusing way, to make itself legitimate).coherence.
Vocabulary, syntax and rhyme scheme produce clarity of meaning, even if that is deliberately hidden until towards the end. The rules of the competition exclude free verse, yet one entry (Paradox) briefly introduced free verse, deliberately and to some effect, to make the writer’s point, a diversion which is to my mind amusing and wholly forgivable.
Several entrants used as a vehicle the difficulties of composition, especially in poetry. While this is legitimate within the internal coherence of the poem itself, I have always found this approach (whether writing prose or poetry) limiting and self-defeating. It’s a bit like a pianist deliberately playing wrong notes and chords to demonstrate to his listeners how difficult it is to get it right.
September 2013: Young Adult Short Story Competition Report
Some interesting writing and subjects. All of the stories showed much work, commitment and determination, which is commendable. Therefore it was with much trepidation that commentary was made as all the writers show great promise and should in no way be discouraged from further endeavours, or view criticism negatively, remembering constructive criticism is levelled against the protagonist and story line and not at the writer.
Story analysis and feedback means the writer has invoked deep response in the reader, which is the object of writing it in the first place, so no matter what, you are well on your way to achieving your goals. Congratulations to all, may your muse be with you and you continue strengthened.
OVERALL SHORT STORY WRITING JUDGES REPORT – August Short Story
I would like to congratulate the participants for the generally professional way in which their stories were presented. The writing is good and so is the presentation. Although this should not influence the acceptance of a story, how it is presented does make an impact on a judge!
I was impressed with some of the descriptive imagery in some of the stories. Characterisation was also good. These are two essentials to master in fiction writing. Your characters must come to life and we must feel as if we are in the place being written about. Some small attention needs to be given to grammar in some instances, and punctuation as well. I will comment individually to the writers of these stories where this is a minor problem.
I would like to give input on what a short story is, and the importance of viewpoint in a short story which is sometimes difficult to understand.
SHORT STORY WRITING
Next to poetry, the short story is the most difficult form of writing. Novel writing is easier, in comparison, if somewhat longer, whilst journalism comes at the bottom of those genres in the highly-fêted world of writing.
What makes short story writing so honoured? Perhaps it is because, by solving universal problems through story and the use of the imagination, the writer can help readers to see their lives and problems in a different way.
A short story also :
– captures a brief moment in a complete holistic way.
– is so complete that nothing can be added, and nothing taken away.
- has a pattern. The beginning and the end, in some way, tie up and there is change in the chief character who is no longer the same at the end of a good short story.
- is lean in characters and settings.
- cannot spread itself out.
- ideally takes place within a period of twenty-four hours.
- is a beautifully presented cameo of life.
- has surprise – if the ending is predictable, the reader is bored.
- has no place for long-windedness.
– starts with trouble falling, having just fallen, or about to fall.
– is told through the eyes and heart of the chief character and things get progressively worse until the story reaches a high point. This crisis brings the story to a climax and then it ends quickly.
– enables both writer and the reader to get into the chief character’s deepest inner feelings, but does not allow this privilege for other characters because it is written from one point of view.
- keeps to one emotional tone – humour, light romance, tragedy or whatever mood the writer chooses to set.
- is something that lives with a person forever (if it is a good short story.) It is not easily forgotten.
- can be written from a first person point-of view, or a third person point-of-view. In a first person view point story, the writer is telling the story as if it had happened to him or her. In a third person point of view, the writer tells the story about what happened to the characters; though it is correct to get into the heart and feelings of the chief character. It is important to note that the writer must not change viewpoint when writing a short story.
- has essential elements of character (chief character the protagonist), setting, dialogue and plot.
There are many types of short story. Each one of them is acceptable in its own way. For instance, there are magazine short stories, literary short stories, short short stories, anecdotal short stories, and short stories that fall into no class and yet are certainly very good stories to read. And there are a lot of important things to know about stories and how they are written. You may start a short story when you have an idea of the character or the problem, or you may have the beginning or the end of the story. Some detail of a character might interest you and start a story going.This is creative short-story writing. If the creative right-brain method of short story writing does not suit you, then you can use the conventional (or known) approach. An overview of short stories can also lead you onto an indepth study of the literary art of writing good short stories.
Besides the essential conflict and the plot or story plan, dialogue is important. It is there for a reason. It needs to be economical and yet sound as if the character is speaking as he or she would. It moves plot along and helps define character. It adds sparkle to a page, breaking long paragraphs of narrative and making the page look attractive.
Very important is background or atmosphere. For instance, make background as vivid as if one was really there. Remember that writing is SHOW and don’t TELL. Showing is painting a picture in words, using one’s senses to encourage the reader to hear, see, smell, touch and taste elements in your story so that it is as real to him or her as if he or she was part of the story. This is the magic of the story teller.
Characterization requires the writer to bring the character ro life. This means showing strengths and weaknesses, physical traits and emotional scars or traumas gently revealed. Show us the person in action. Ted Hughes in his book Poetry in the Making tells us that a character really came to life for him when he read that this person had “eyes like a viper.” Small details say a lot, and help create a living character – the way a person laughs, or moves, or tidies up, or doesn’t, all help build a believable character. Remember that the reader needs to like your chief character so even if he or she has done something wrong, let us see them as human with characteristics we approve of. As we read the story, we need to feel we are in a chair next to the chief character, he or she is so real!
Use your imagination when creating characters. When out somewhere, see two interesting people and then ask yourself why they are together, what is the connection between them and the problem. See if you can get stories going in this way!
SAWC Overall Report – Travel Writing
Firstly, what a pleasure to be taken on a tour of our beautiful country, and beyond. I do feel as if I’ve had a brief sabbatical from the everyday, travelling vicariously from St Helena to the caves of the Northern Cape. The Karoo has always held a special place in the hearts of artists of all types, and that shows through this selection, with a surprising number focusing on that fascinating region.
The submissions covered a wide range of styles and quality of writing, with a number of them being worthy of publication.I would be interested to know which medium each writer had in mind when they wrote, as this is a vital point and should certainly influence the way one writes. For example, The Abandoned Art Gallery would make a wonderful inclusion in a Sunday newspaper supplement (particularly in KZN), but might not work as well in a travel magazine. Similarly, whether the feature is destined for a lifestyle or specialist travel magazine would influence the amount of practical information included. That said, relevant contact details should always be included if you are submitting your piece for publication.
Whoever you write for, the audience will include readers with different knowledge and interests. Do not assume that every reader will understand colloquial terms or specialist jargon. If you feel the need to write something in italics or inverted commas, you need to explain it. Remember to appeal to all five senses when writing – not just the visual. This will bring the piece alive, drawing the reader in and engaging them completely. Food is a natural pairing with travel and is a perfect opportunity to incorporate taste and scent. One particularly poetic description is included in the winning entry St Helena Island: ‘The sea stretches out like hot metal, horizons flare bronze in air that scarcely moves, torpid and tropical.’
If you write in the first person and speak of ‘we’, introduce your party. This will clarify the situation in the reader’s mind, helping them imagine the scene and saving them from being distracted by thoughts of ‘who?’. For most people, reading is a pleasure and travel features, in particular, will be read during leisure time. Appeal to this by making your words dance. Vary the rhythm of your sentences and work to make every one a complete thing of beauty. This was achieved, to some degree, by each of the winning features.Contrast is a valuable tool in the writer’s arsenal. Whether it be an uncharacteristically short sentence or a description of something unexpected, use it to your advantage. A good example can be found in A Thunderful Trip to ‘Wonderwerkgrot’. While the general description is of great space and natural wonders, the author takes a few lines to focus on a bizarrely busy grocery store. This diversion adds interest and an extra dimension to the story.
Travel writing is a wonderful art form that allows the reader to escape to a place that they may never have the opportunity to visit. The writer has a responsibility to do the subject justice, while offering their reader that transformative experience. Always bear that in mind and enjoy the process.
May 2013 Science Fiction Competition Report
It has been my pleasure to judge the entries for the SAWC SF Competition 2013, I found all the stories very interesting in their concepts and such. Writing for competitions is always a good test for writers in that it’s all up to the writer from the first draft to the final entry submitted – there are no editors to fall back on and what the judge sees is what they judge. In this regard I felt there was on the whole a distinct lack of polishing of work for this competition. This means that good concepts, characters, dialogue, etc., were obscured by proofing errors and others that should have been cleaned out in the second draft and certainly not have made it into the final work. In my time as an editor and publisher I have worked with many stories that had great concepts but took a lot of work in editing with the writers to get them polished and publishable. This is possible when submitting to an anthology or magazine with an editor who looks for these things and is willing to do the work. However, with competitions there is no such leeway available and writers have to keep this utmost in mind when submitting for them, which as it turns out is a good work ethic to have as a writer for all your work anyway.
I’d like to congratulate the winner, Colby Sukela (pseudonym, as this was a blind judged comp) for the great story Imitation. Besides being well crafted and polished, it was a story with great concepts, themes, and characters that were well explored; leaving the reader contemplating what is it to be human in a world where we rely more and more on our technology and where that might lead.
April 2013: Non-Fiction Synopsis Competition Report
If you were to write a synopsis for a publisher you would have limited time to sell the concept and persuade the editor to accept your book for further scrutiny. This document is your sales pitch and should be given careful consideration. Hopefully the editor will be sufficiently interested to read your book’s first three chapters which should accompany this document, together with your enquiry letter.
Nonfiction writers should have an in-depth understanding of their subject and their passion for the work should “shine through” the text. Most of the entries for this competition wrote about other author’s work. The genres differed and therefore it was difficult to compare “apples with apples”. There were two “how-to” books, The Craft of Novel Writing by Sheffield, and Turn Cash into Trash by Garbage Granny, the latter coming first and the former, third. In the middle, in third place, an environmental book based on the work of Lawrence Antony’s book, The Elephant Whisperer, entitled Freedom, Life and Loyalty by Shane Wilding, invited the question “Could I accept such a herd of traumatised elephants?” Then there was a travel book about the life of Lawrence of Arabia, a religious work, and lastly a spy novel with Graham Greene as the author. So, as you can see, the apples were of quite different flavours and types.
There were only six entries for this competition which is disappointing. Members should not be afraid of being critiqued. It is part of the process which will prepare you for the rejection letter all of us receive some time in our writing lives. It is also an excellent forum for improving your work and generating ideas on other topics to write about. Perhaps this particular topic was too broad as nonfiction can be anything from a cookery book, historical, how-to, New Age, health, religion etc.
Formatting before submission
When submitting work, please ensure that it formatted 1.5 or double spaced, page numbered, with your name and the topic in the header. In this electronic age many publishers are open to receiving files sent via email, but there are still the old fashioned types who prefer typed pages and please remember, these should be not stapled. So, you can imagine a busy editor in a publisher’s office with two cups of coffee on a table heaped with paper and the pages fall all over the floor. Don’t expect her to pick up the pieces and find out how they link together. No, move onto the next job please and while you are at it make that another cup of coffee.
Questions to ask before submitting
– Before submitting work to a publisher, ask yourself the following questions.
– Does the title explain what the topic concerns?
– Would the reader be comfortable knowing that the author writes with authority?
– Does the text introduce new concepts?
– Am I inspired to read further?
– Are practical examples given if this is a “how to” book?
– Does the book lend itself to illustrations and is this suggested?
– Does the opening paragraph capture my interest and explain the topic?
– Does the concluding paragraph sum up the content explained?
Remember a synopsis is different to the blurb which appears at the back of the printed book. The blurb does not “give the game away”, but in the case of a synopsis, whether fiction or nonfiction, the publisher wants no surprises. All aspects need to be explained as succinctly as possible. Normally two pages are sufficient. In addition to the synopsis they want to know what ideas the author has on possible markets for their book. Remember, the publisher is interested in their bottom-line – what brings in the cash.
This website contains an opening paragraph which sums up what has been said to far and is worthwhile exploring for additional ideas.
For fiction, it’s largely down to personal taste and interest, I think. In non-fiction, it’s more clear-cut to determine if there is a niche for a subject, if the market is over-saturated (as with most mind/body/spirit subjects at the moment) and if it has something new or controversial to say.
For non-fiction you need to submit a fairly detailed proposal along with the sample writing. Most non-fiction is commissioned on the basis of a proposal as opposed to a completed manuscript. A strong proposal is both a sales tool and a business plan. It should estimate the length, competition in the marketplace, why you are the best person to write this book, as well as potential sales.
The website also contains a checklist which raises the same points mentioned previously. It is worthwhile reading.
March 2013: Mystery Short Story Competition Report
The short story is a delicate art form. How do we put across a satisfying narrative in such a limited framework? I know established novelists who struggle when it comes to writing short
stories. The short story asks the writer to zero in on a moment, hold it for a few pages, and let it go at the right time. Harder still is the fact that a mystery factor had to be weaved into all of this.
I was pleasantly enthralled by the quality of the work submitted by the South African Writers
Circle. A few of the works are of a quality that would please mainstream publishers, in fact.
A good story must possess a number of factors – characterisation, place, time and the prose
has to have a voice. Most of the stories achieved this. This made it quite difficult to chose a
winner, and that is a good thing. It shows that writers in the circle care about their work.
Your characters are human so let them be human, let them drink something or cough or
sneeze, let us know what they look like and how they feel. Most of the stories look and read
well. All the works kept me wondering until the very end. The mystery factor was well and
I must stress the importance of constant editing. A sentence is rarely perfect at the first
attempt. Such is writing that you must love this aspect of the craft. Have a high ceiling for
what works in your eyes, be your greatest critic. The road to getting published starts with
that – constantly work on your piece, make it the best it can be then work on it a little more.
Editing turns a good story into an excellent one. It is what turns a manuscript into a book.
Most stories had a sort of resolution in the end. Critics say a short story should be left hanging in the end, that as a short window into people’s lives it is not necessary to tie everything tidily. But this being life the reader’s appetite has to be fed, we want to know what happens next. I for one appreciate both endings – with a resolution, and a conclusion that leaves me hanging. I am glad that I encountered both types of endings in these mystery short stories.
Imagination cannot be taught. The technical side of the craft can, but not imagination. As the circle you let yours run free in these stories and this is encouraging. On the whole the writing was good. I am highly impressed by what I read. It kept me enthralled, excited and busy for these last few weeks. The good quality of these stories gave me a headache when it was time to choose an outright winner. In truth, the first and second place stories edged each other out by not more than a hair.
February 2013: Poetry Competition Report
This competition provided a variety of pieces, some with great potential and others needing more care in the writing. In some there was a good use of words (the English language has so many to offer) which gave one a suggestion of a kind of music. Write and rewrite; the first offering is never to be the final one. Some poets have been known to rewrite twenty to thirty times until they considered perfection was achieved. I suggest you read your work aloud when you will then hear the possible need of restructuring.
Writing in the genre of “Free Verse” has many pitfalls and it is not the easy way out. It has a rhythm of a kind although no definite meter. It relies on elevated language to make an impression. Remember poetry is written line by line and prose is written in sentences, therefore take care not to chop up prose to put into lines. Those who produced “classical” poetry (with meter and rhyme) did well although one is advised to check for ragged rhyming and meter. Overall there were some very pleasing and enjoyable pieces. If you are serious about writing poetry it is suggested that you read as much poetry as you can from old writers to modern.
Do not be discourage by what might be taken as negative remarks. Learn from them and perhaps rewrite that poem for another competition. It may be worth the effort. The winners are to be congratulated. Well done!
February 2013: Flash Fiction Competition Report
This was a challenging topic which really stretched the imagination of participants. Few have experienced real war which makes ‘write about what you have experienced’ difficult. And so new interpretations of war were conjured up – war with the neighbours, wars of words and analogies of teenage rebellion and rugby battles.
Interestingly, the pieces which didn’t take the war theme too literally, generally worked better.
In general, the entries lacked that magical, almost intangible quality called the writer’s voice. You know it when you read it. Entrants need to develop a unique voice which is distinctive and recognizable. The judges should recognize this voice even if the writer is anonymous. Developing a voice takes time and effort and it isn’t easy. In some of these entries, there are the beginnings of a voice – a style which is uncontrived and not conjured up, but which just flows out effortlessly. When one has developed a voice, storytelling becomes as natural as dreaming – it just happens. This is something all writers have to strive towards.
DEC 2012/JAN 2013: First Chapter of a Novel Competition Report
Thank you for the allowing me to judge your competition! It was a great experience and I’ve enjoyed your submissions. Some are excellent and other require a bit more work, but in the end of the day as writers our learning never stops! We should always aim to improve on our talent. Below are a few general pointers/areas you can improve as a group, gathered from your combined work. Please don’t see my suggestions as being critical, but rather as constructive.
A good synopsis is a very difficult thing. I mean, how do you get the gist of a 90 000 + word novel in a few paragraphs? As this is probably the first impression of your novel an agent/publisher will see make sure its as polished as you can get it, so read some books on the subject or go online for examples. This is as important as your book itself!
OPENING PARAGRAPH & PAGE:
Your first sentence should be the hook of your novel. It is said that when buying books, readers will first look at the cover, then the blurb on the back and then read the first paragraph, so as a writer you want to have the bait ready when they do so. Make the first line & paragraph short & catchy, something that will get their attention with enough mystery or tension that will make them want to read more. How you follow that up is of course also very important, so don’t bore your reader with unnecessary facts. Drop them right in the middle of the action!
How you handle back story will always be a challenge, because, like it or not, back story is usually a lot of boring facts. On a plate of food it’s the vegetables – good for you but dull and often tasteless. So do what you do with vegetables – serve it in bite-sized chunks, cover it in sauce and hide it if you can! 😉 Seriously, the best way to do back story is a little bit at a time, or slipped in by-the-way when something else more exciting is going on. Dialogue is a great way to slip in back story, but make it believable, not a lecture one person gives another.
SHOW NOT TELL
As writers we’re all probably sick of this term by now, but it’s still an area we slip in most often. For example, instead of telling me that Gracie lives in Small Town America in the 1950’s and dates a rich college baseball player called Biff how about something like this (silly example, but you’ll get the point):
“Hey Gracie, Wanna ride?”
Biff had pulled up in his brand new, red Cadillac convertible, hair greased back as always. Elvis was shaking, rattling ‘n rolling from the car audio with Jim and Mandy in the backseat his obedient disciples.
“Where ya going, sweetie pie?” She asked.
“New York?” she replied playfully. “Now what’s a small town boy like you gonna do in a place like that?”
“Dunno, maybe go play for the Yankees…” He beamed as he pulled a registered letter from his pocket and held it out to her.
Gracie squealed with delight and jumped into the passenger seat next to him, kissing him profusely. “They chose you! Oh my…” she stopped mid-sentence and pulled away from him. “When are you going?”
Biff grew suddenly serious. “This summer. Soon as I graduate.”
“And… and where does that leave us?” She asked in almost a whisper. In all the excitement she had never thought of that scenario. Biff was leaving, and she could not go with. On the stereo Elvis was crying in the chapel and on the inside, so was she.
IN LATE OUT EARLY
It’s usually a good idea to revise your chapters and scenes and cut away beginnings and ending that aren’t necessary. I find that I usually take a few paragraphs to warm up, so I look for that potentially great opening line and then start there. Don’t be afraid to cut your work. Once again, drop your reader in the middle of what’s going on and get them out before everything resolves. Sometimes we should just let the readers fill in the blanks or connect the dots for themselves.
A novel only works because the author knows something that the readers don’t and then spends a whole book revealing that to them. Find your “carrots” and dangle it in front of your readers. Don’t reveal all in the first chapter. Always only reveal as much as is necessary.
I found that many of you are so excited about your story that you’re trying to dump the whole story in your reader’s lap in the first chapter. Don’t do that. Slow Down. Stories are about characters that overcome challenges over time. You don’t invest in a story unless the characters think and act in a believable way, and this includes how quickly they “fall into the plot”. Take time for your story to ease in and grow. You obviously need to find the right pacing for your story and character as no two stories will be the same.
In a television and movie-driven society modern readers are used to dialogue, not narrative & prose. You may hate that, but if you’re wanting to make it you’ll have to adapt. By this I don’t mean sacrifice all your narrative, but don’t go all Dickens on your readers. Balance narrative with enough dialogue. Dialogue should almost always push the story forward, not prose. In dialogue you can also perfectly solve problems including back story and the problem of Telling as opposed to Showing.
CONFLICT & TENSION
Remember that without conflict & tension readers will lose interest. Make sure there’s some on that on every page. That’s why delaying the reader’s desire to know outcomes or the full story behind a Character’s actions is so crucial.
Once again thanks and all the best with your novels!
Judge “Dredd” 😉
Copyright 2019 South African Writers' Circle | Designed and hosted by Select Web | All Rights Reserved