Tag: fiction

5 Guaranteed Ways To Bore Your Reader Writers.Write

by Richard Young

Most beginners overwrite – padding their prose with unnecessary descriptions and characters. Here are 5 guaranteed ways to bore your reader.

There are times when I pick up a book and I think, ‘I can’t carry on.’ Even though I try to finish most of the novels I start, life is just too short to read badly-written, boring books.

Why are these books boring?

Most beginners overwrite – padding their prose with unnecessary descriptions and characters. This is mainly because they do not have a structured story with well-drawn characters and a cohesive, well-paced plot.  I have put together sure-fire ways that will help you if you want to bore your reader to tears.

5 Guaranteed Ways To Bore Your Reader

  1. Add heaps of backstory. Every page is important. Readers, publishers and literary agents make decisions about whether to carry on reading a book based on the first few pages. Do not waste anyone’s time with unimportant setting details and character histories. Introduce your main characters. Tell us where we are – briefly. Set up a great conflict with an exciting inciting moment. And write!
  2. Do not structure your novel. Reading a book seems incredibly daunting if you are lost in an inexperienced author’s stream of consciousness. A great story does not meander from one unrelated event to another. It needs to follow a path. Otherwise, readers will lose interest. They will worry about wasting their time as you muddle through the details.
  3. Do not create empathetic characters. It does not matter if you happen to love your unsympathetic psychopathic hero. The truth is that nobody will continue to read a novel without having an emotional connection to the main characters. They can be heroes, anti-heroes or villains, but they all need flaws and redeeming qualities. Readers read stories because they want to relate to someone in the book. We want to know why the characters are acting the way they do.
  4. Leave unnecessary scenes in the book. I walk out of movie theatres when I watch a film where nothing happens. I stop reading books for the same reason. Authors cannot simply place characters on the page, add some dialogue and description and not move the story forward. Scenes should move your characters and your plot to the resolution of your story. If they don’t, cut them. Removing scenes keeps your story focused, your pace intense, and creates tension so that readers can’t stop reading.
  5. Describe everything. You do not have to tell readers everything. They are not stupid. Reveal information through action and dialogue. This does not mean that you leave description out. It means that you do not tell us what every character, town, tree, or house, looks like in mind-numbing detail. Your characters should interact with the setting. A reader should be able to see and hear and smell the novel through the words on the page.

Please do not make these five mistakes when you write. Remember that you are competing for a place in a crowded market. The Internet, television, movies, and smart phones have taken their toll and today’s reader will not tolerate long flowery sentences, insipid characters and pages of boring backstory. Writing like this is a guaranteed way to lose your reader in the first few pages.

by Amanda Patterson

Dorothy Parker On Writing

by Richard Young

(Source: Writers Write)

How do you actually write out a story?

‘It takes me six months to do a story. I think it out and then write it sentence by sentence—no first draft. I can’t write five words but that I change seven.’

How do you name your characters?

‘The telephone book and from the obituary columns.’

Do you keep a notebook?

‘I tried to keep one, but I never could remember where I put the damn thing. I always say I’m going to keep one tomorrow.’

How do you get the story down on paper?

‘I wrote in longhand at first, but I’ve lost it. I use two fingers on the typewriter. I think it’s unkind of you to ask. I know so little about the typewriter that once I bought a new one because I couldn’t change the ribbon on the one I had.’

How about the novel? Have you ever tried that form?

‘I wish to God I could do one, but I haven’t got the nerve.’

Do you think economic security an advantage to the writer? 

‘Yes. Being in a garret doesn’t do you any good unless you’re some sort of a Keats. The people who lived and wrote well in the twenties were comfortable and easy living. They were able to find stories and novels, and good ones, in conflicts that came out of two million dollars a year, not a garret. As for me, I’d like to have money. And I’d like to be a good writer. These two can come together, and I hope they will, but if that’s too adorable, I’d rather have money. I hate almost all rich people, but I think I’d be darling at it.’

The Paris Review interview by Marion Capron