Bridge Of Writing (Domination #2) by DeYtH Banger (the false prince series TXT) 📖

Koontz, to my Halloween launch event for Venom. Alas, he can't make it, but he did send my mom a personal note and me a box of Koontz-awesomeness including an autographed limited edition copy of Velocity. I was so surprised that I cried. I will never forget the fact that a workaholic, super-famous, bestselling author took time out of his schedule to autograph some books for me. I suspect I will never be quite as famous as Dean, but I will definitely do my best to pay this incredible act of kindness forward to other young authors. Dean Koontz And 5 Things Every Genre Story Needs

 

Five Essential Elements Of Genre/Category Fiction

Dean Koontz holds that there are five essential differences between genre and mainstream fiction.

1. A Strong Plot

Here's the formula:
[T]he hero (or heroine) has a serious problem; he attempts to solve it but plunges deeper into danger; his stumbling blocks, growing logically from his efforts to find a solution, become increasingly monumental; at last, forced by the harsh circumstances to learn something about himself or the world around him, to learn a Truth of which he was previously unaware, he solves his problem—or loses magnificently.
That more-or-less sums up the hero's journey.

I find it interesting that James Frey said more or less the same thing in his book, "How To Write A Damn Good Novel". He writes:
[A dramatic novel] focuses on a central character, the protagonist, who is faced with a dilemma; the dilemma develops into a crisis; the crisis builds through a series of complications to a climax; in the climax the crisis is resolved. Novels such as Ernest Hemingway's The Old Man and the Sea, John Le Carre's The Spy Who Came in from the Cold . . . are all written in the dramatic form and are all damn good novels.

2. A Vivid Protagonist Readers Can Relate To

Dean Kootz stresses that readers of genre fiction want to escape their lives, for a few hours they want to trade their existence for one that is more exciting. They don't want to read about someone trying and failing.

James Frey agrees and writes that "readers wish to read about the exceptional rather than the mundane". Your characters need to be "more handsome or ugly, ruthless or noble, vengeful or forgiving, brave or cowardly, and so on, than real people are."

A protagonist in a genre novel has ...
... hotter passions and colder anger; he travels more, fights more, loves more, changes more, has more sex. Lots more sex. Homo fictus has more of everything. Even if he is plain, dull, and boring, he'll be more extraordinary in his plainness, dullness, and boringness than his real-life counterparts.

3. Both Protagonist And Antagonist Must Have Clear, Believable, Motivations

I've written quite a bit lately about this point so I won't belabor it here. Point of view (POV) characters need clear goals. And the stakes (what happens if the character achieves her goal or not) they are playing for have to be crystal clear as well.

But there's something else, there's the question of motivation. Why does your character care about those goals? Why does he care about those stakes? Here we are talking about inner motivations.

Dean Koontz believes that all character motivation can be made to fit one of the following 7 categories:

- Love
- Curiosity
- Self-preservation
- Greed
- Self-discovery
- Duty
- Revenge

(I think one could also add: ambition and fear. I would slot 'conscience' in with Duty, above.)

Dean Kootz writes that two or more of these motivations must be present in any character for the result to be believable. For instance, Gothic heroines are often motivated by curiosity, love, and self-preservation.

He also cautions that a character should not be motivated by anything at odds with his basic personality. For instance, it would be difficult to imagine any of Tom Hanks' characters being motivated by greed for power or greed for wealth.

4. Lots Of Action

Whenever I think about an action movie I think of Indiana Jones in one of the first three movies of that series. Indie did a lot of running from bad guys, a lot of chasing bad guys and a LOT of fighting bad guys--and it was great!--but, as Dean Koontz points out, that's not the only kind of action.

- Movement from place to place
- Confrontations between characters
- A conflict of inner motivations

Dean Koontz writes:
The hero and heroine must constantly be engaged in conquering some barrier that grows logically from their own actions in trying to solve their major predicament.

5. A Colorful Background

Even if your characters aren't romping around the Bahamas, it's important you create a "stage on which hotels, houses, streets, and people are uniquely painted". This also helps create suspension of disbelief.

That's it! I think that sometime soonish I want to talk about James Frey's book, How To Write A Damn Good Novel. It has a lot of great advice in it.
How do you think genre novels differ from the mainstream? DO you think they differ? Ursula K. Le Guin doesn't feel there is a useful distinction to be made.

Stephen King’s Top 20 Rules for Writers

 

In one of my favorite Stephen King interviews, for The Atlantic, he talks at length about the vital importance of a good opening line. “There are all sorts of theories,” he says, “it’s a tricky thing.” “But there’s one thing” he’s sure about: “An opening line should invite the reader to begin the story. It should say: Listen. Come in here. You want to know about this.” King’s discussion of opening lines is compelling because of his dual focus as an avid reader and a prodigious writer of fiction---he doesn’t lose sight of either perspective:

We’ve talked so much about the reader, but you can’t forget that the opening line is important to the writer, too. To the person who’s actually boots-on-the-ground. Because it’s not just the reader’s way in, it’s the writer’s way in also, and you’ve got to find a doorway that fits us both.

This is excellent advice. As you orient your reader, so you orient yourself, pointing your work in the direction it needs to go. Now King admits that he doesn’t think much about the opening line as he writes, in a first draft, at least. That perfectly crafted and inviting opening sentence is something that emerges in revision, which can be where the bulk of a writer’s work happens.

 

 

Revision in the second draft, “one of them, anyway,” may “necessitate some big changes” says King in his 2000 memoir slash writing guide On Writing. And yet, it is an essential process, and one that “hardly ever fails.” Below, we bring you King’s top twenty rules from On Writing. About half of these relate directly to revision. The other half cover the intangibles---attitude, discipline, work habits. A number of these suggestions reliably pop up in every writer’s guide. But quite a few of them were born of Stephen King’s many decades of trial and error and---writes the Barnes & Noble book blog---“over 350 million copies” sold, “like them or loathe them."

1. First write for yourself, and then worry about the audience. “When you write a story, you’re telling yourself the story. When you rewrite, your main job is taking out all the things that are not the story."

2. Don’t use passive voice. “Timid writers like passive verbs for the same reason that timid lovers like passive partners. The passive voice is safe.”

3. Avoid adverbs. “The adverb is not your friend.”

4. Avoid adverbs, especially after “he said” and “she said.”

5. But don’t obsess over perfect grammar. “The object of fiction isn’t grammatical correctness but to make the reader welcome and then tell a story.”

6. The magic is in you. “I’m convinced that fear is at the root of most bad writing.”

7. Read, read, read. ”If you don’t have time to read, you don’t have the time (or the tools) to write.”

8. Don’t worry about making other people happy. “If you intend to write as truthfully as you can, your days as a member of polite society are numbered, anyway."

9. Turn off the TV. “TV---while working out or anywhere else---really is about the last thing an aspiring writer needs.”

10. You have three months. “The first draft of a book---even a long one---should take no more than three months, the length of a season.”

11. There are two secrets to success. “I stayed physical healthy, and I stayed married.”

12. Write one word at a time. “Whether it’s a vignette of a single page or an epic trilogy like ‘The Lord of the Rings,’ the work is always accomplished one word at a time.”

13. Eliminate distraction. “There’s should be no telephone in your writing room, certainly no TV or videogames for you to fool around with.”

14. Stick to your own style. “One cannot imitate a writer’s approach to a particular genre, no matter how simple what that writer is doing may seem.”

15. Dig. “Stories are relics, part of an undiscovered pre-existing world. The writer’s job is to use the tools in his or her toolbox to get as much of each one out of the ground intact as possible.”

16. Take a break. “You’ll find reading your book over after a six-week layoff to be a strange, often exhilarating experience.”

17. Leave out the boring parts and kill your darlings. “(kill your darlings, kill your darlings, even when it breaks your egocentric little scribbler’s heart, kill your darlings.)”

18. The research shouldn’t overshadow the story. “Remember that word back. That’s where the research belongs: as far in the background and the back story as you can get it.”

19. You become a writer simply by reading and writing. “You learn best by reading a lot and writing a lot, and the most valuable lessons of all are the ones you teach yourself.”

20. Writing is about getting happy. “Writing isn’t about making money, getting famous, getting dates, getting laid or making friends. Writing is magic, as much as the water of life as any other creative art. The water is free. So drink.”

The Lawnmower Man: Stories