Writing is the art of putting words onto paper, and it is just as much an art as sculpting a delicate statue, or painting a beautiful picture. Although there are many different forms of writing—poetry, essays and speeches are a few—this pamphlet deals with writing a story. To write a story there are a few things you must know (if you want it to turn out well).To begin with, get a piece of paper—perhaps you will need a stack of paper—and something to write with. Then you will be all ready to start your story, for you will probably want to start one when you have finished reading this.
Now for the harder part—that is, the things to know. I have written some of them down here, but you will learn a great many more by practice. This is a sort of guide, so you may use it however you like. You may begin at BEGIN and end at END if you like, or vice versa if you prefer. You may start in the middle if that is easier, and you can skip about as much as you like. Please remember that most of these ideas are simply my opinions. You do not have to adhere to them strictly; in fact, you are at liberty to disagree with me as much as you like. They are all good ideas, however.
One note here: I will not put in anything about grammar. You can use as bad English as you like, it does not necessarily hurt your story (witness The Adventures of Huckleberry Finn). If you would like a book on grammar I am sure you can find one elsewhere.
Now to
BEGIN
I. The Science
Here are the two most important tricks to making your sentences smooth and your story progress nicely.
1. Omit unnecessary words from sentences
Just like a good haircut, less is better.
Just like a good haircut, less is better.
o Don’t repeat passages
Especially long ones. Reading a long passage once is bad enough. Unless properly done, even repeating a short passage insults a reader’s intelligence.
o Don’t make people say things in original ways
Example: putting “agreed, “bubbled or “beamed so-and-so” instead of “said so-and-so.” This is a great waste of time. All the reader wants from the un-quotation-marked passages is who said what. Sometimes you may say how he said it, but make it as unnoticeable as possible by not being original. The reader will not be distracted from the story by a character saying something “disappointedly,” but he will waste a great deal of time trying to figure out how someone’s voice could “drip with disappointment.”
Especially long ones. Reading a long passage once is bad enough. Unless properly done, even repeating a short passage insults a reader’s intelligence.
o Don’t make people say things in original ways
Example: putting “agreed, “bubbled or “beamed so-and-so” instead of “said so-and-so.” This is a great waste of time. All the reader wants from the un-quotation-marked passages is who said what. Sometimes you may say how he said it, but make it as unnoticeable as possible by not being original. The reader will not be distracted from the story by a character saying something “disappointedly,” but he will waste a great deal of time trying to figure out how someone’s voice could “drip with disappointment.”
2. Omit unnecessary material from the story
Don’t put anything into the story that you don’t need to—no matter how tempting it may be to do so.
Don’t put anything into the story that you don’t need to—no matter how tempting it may be to do so.
o Don’t tell your readers what they can figure out for themselves.
o Don’t overdo things
Especially humour. Don’t constantly bring up a joke or it isn’t funny anymore.
o Don’t over-describe
Description can add much to a story—Dickens is famous for it—but as a general rule, minimize long passages with no quotation marks.
o Don’t diverge from the subject
o Don’t sermonize
Most people skip those parts anyways.
o Don’t make long-winded dialogue
No one really talks like that.
o Don’t overdo things
Especially humour. Don’t constantly bring up a joke or it isn’t funny anymore.
o Don’t over-describe
Description can add much to a story—Dickens is famous for it—but as a general rule, minimize long passages with no quotation marks.
o Don’t diverge from the subject
o Don’t sermonize
Most people skip those parts anyways.
o Don’t make long-winded dialogue
No one really talks like that.
II. The Plot
The Plot is what happens in the story. It is the main part of the story, but not the whole of it: the characters and setting also make up a large part of the story. The Plot consists of several parts:
1. Introduction
The reader is introduced to the characters and setting.
The reader is introduced to the characters and setting.
o There are several different ways to begin a story
i. Introduce the main character, a less-important character or the villain.
ii. Introduce the location of the story.
iii. Introduce the historical setting.
o Don’t make the story predictable
I put this at the outset because it is so very important. It is lots of fun to predict the end of someone else’s story, but if you are a writer you probably want to keep your readers in suspense, so don’t make something happen that always happens in stories. Instead of making a prince rescue the princess, make it a tiger, or something like that.
o Make the first chapter interesting
This is so that people will keep reading the rest of the book.
o Foreshadowing
This is like being a prophet. Put in hints about what will happen at the end. You can do this all through the story.
o Don’t introduce too many people at once
The readers will forget who’s who.
i. Introduce the main character, a less-important character or the villain.
ii. Introduce the location of the story.
iii. Introduce the historical setting.
o Don’t make the story predictable
I put this at the outset because it is so very important. It is lots of fun to predict the end of someone else’s story, but if you are a writer you probably want to keep your readers in suspense, so don’t make something happen that always happens in stories. Instead of making a prince rescue the princess, make it a tiger, or something like that.
o Make the first chapter interesting
This is so that people will keep reading the rest of the book.
o Foreshadowing
This is like being a prophet. Put in hints about what will happen at the end. You can do this all through the story.
o Don’t introduce too many people at once
The readers will forget who’s who.
2. Problem
The Problem is introduced. What is the “point” of the story? Does the hero have to rescue the princess from her cruel uncle? Or must he prevent the Confederates from carrying out a dastardly raid? Or does he have to somehow get money to send his brother to college? Etc.
The Problem is introduced. What is the “point” of the story? Does the hero have to rescue the princess from her cruel uncle? Or must he prevent the Confederates from carrying out a dastardly raid? Or does he have to somehow get money to send his brother to college? Etc.
o Make original problems if you can
My first two examples were not very original.
o Make several problems
This makes it more interesting, but it is best to make only one of the problems the main one.
o Condense the Plot as much as possible
That is, cut out any parts you do not really need, so the story is not confusing. Keep the readers thinking about the main point.
o Do not let the story slow down, but keep it moving along towards the
My first two examples were not very original.
o Make several problems
This makes it more interesting, but it is best to make only one of the problems the main one.
o Condense the Plot as much as possible
That is, cut out any parts you do not really need, so the story is not confusing. Keep the readers thinking about the main point.
o Do not let the story slow down, but keep it moving along towards the
3. Climax
When the problem is solved.
When the problem is solved.
o Don’t make the problem too easily solved
Readers will expect something big (if you’ve done it right). Don’t disappoint them.
o Make the Climax very exciting
It is the most important part of the plot, after all.
o Make lots of action
(Sword fights, gun fights, fist fights, etc.) This is a personal preference.
Readers will expect something big (if you’ve done it right). Don’t disappoint them.
o Make the Climax very exciting
It is the most important part of the plot, after all.
o Make lots of action
(Sword fights, gun fights, fist fights, etc.) This is a personal preference.
4. Denouement
These are the final remarks to wrap up the story.
These are the final remarks to wrap up the story.
o Don’t leave ends hanging
Make sure you have solved every one of the problems (unless you mean to write a sequel).
o Make a satisfactory ending
End the story so that everyone can tell it is over even if there is no “THE END” sign.
Make sure you have solved every one of the problems (unless you mean to write a sequel).
o Make a satisfactory ending
End the story so that everyone can tell it is over even if there is no “THE END” sign.
III. The Characters
The people (and animals) in your story are very important to its success as a good story or not. Here are the major characters:
1. The Hero
(or heroine.) He is first because he is arguably the most important.
(or heroine.) He is first because he is arguably the most important.
o Make him change
The hero should be better in some way by the end of the story.
o Don’t make him too stupid
Readers should sympathise with the hero and they won’t if he deserves what he gets.
o Don’t make him perfect, either
Although you can make him nice, if you like. Caution: if you make him too good readers will be glad every time something bad happens to him. That is human nature (your readers won’t be perfect).
o Redeeming Factor
If you make the hero start out bad and turn good later (like Ebenezer Scrooge), make at least one good thing about him at the start so the readers will like him and want him to turn good.
o Don’t always make him handsome
The hero should be better in some way by the end of the story.
o Don’t make him too stupid
Readers should sympathise with the hero and they won’t if he deserves what he gets.
o Don’t make him perfect, either
Although you can make him nice, if you like. Caution: if you make him too good readers will be glad every time something bad happens to him. That is human nature (your readers won’t be perfect).
o Redeeming Factor
If you make the hero start out bad and turn good later (like Ebenezer Scrooge), make at least one good thing about him at the start so the readers will like him and want him to turn good.
o Don’t always make him handsome
2. The Villain
The Villain is sometimes the most important character, and is sometimes even the main character (but usually not).
The Villain is sometimes the most important character, and is sometimes even the main character (but usually not).
o Don’t introduce him at the outset
This is only important if readers are not supposed to know who the villain is until near the end (because some readers can smell him through any disguise).
o Don’t disguise him by making him nice
A villain should be a villain.
o Use him wisely
He is often the best person, so do something interesting with him when you are done with him: make him reform, or die (in an interesting way), or escape to come back in a sequel.
o Make him really clever
o Don’t always make him ugly
This is only important if readers are not supposed to know who the villain is until near the end (because some readers can smell him through any disguise).
o Don’t disguise him by making him nice
A villain should be a villain.
o Use him wisely
He is often the best person, so do something interesting with him when you are done with him: make him reform, or die (in an interesting way), or escape to come back in a sequel.
o Make him really clever
o Don’t always make him ugly
3. Foil
There is not always a Foil. He is a person whose purpose is to make something about the hero stand out. If the hero is supposed to be nice, the Foil is bad, or vice versa; if the hero is a coward, the Foil will be brave. Sometimes the villain is the Foil. Example of a Foil: In II Samuel 11, Uriah is the Foil. He shows by his good actions how bad David’s are.
There is not always a Foil. He is a person whose purpose is to make something about the hero stand out. If the hero is supposed to be nice, the Foil is bad, or vice versa; if the hero is a coward, the Foil will be brave. Sometimes the villain is the Foil. Example of a Foil: In II Samuel 11, Uriah is the Foil. He shows by his good actions how bad David’s are.
4. Catalyst
He stays the same but, by his actions, makes others of the characters change. Example: Cinderella’s fairy godmother is a catalyst. She sends Cinderella to the ball where she meets the prince and loses her slipper, etc. Nothing happens to the fairy godmother, but she changes the rest of the story for Cinderella.
He stays the same but, by his actions, makes others of the characters change. Example: Cinderella’s fairy godmother is a catalyst. She sends Cinderella to the ball where she meets the prince and loses her slipper, etc. Nothing happens to the fairy godmother, but she changes the rest of the story for Cinderella.
5. Others
There are lots of other characters you can put in, although they don’t exactly have titles. I have given them titles here so I could have something to call them.
There are lots of other characters you can put in, although they don’t exactly have titles. I have given them titles here so I could have something to call them.
o Sidekick
He is the hero’s friend. In some stories he is better than the hero, but in a good story he shouldn’t be. Sometimes he is the foil. Example: Little John from Robin Hood.
o Little brother/sister
This is somebody the hero has to look after, although it does not have to be his brother or sister. Example: Little Eva from Uncle Tom’s Cabin.
o Protector
This is someone who looks after the hero. He is especially useful in stories where the hero is a child. Example: Aunt Miranda from Rebecca of Sunny Brook Farm.
o “Good” bad guy
He is a “bad” guy that you like, so of course you have to reform him. Sometimes he is bad just because he is on the other side, for instance, Japanese; Indians; Frenchmen. Example: Muff Potter from The Adventures of Tom Sawyer.
o Girl friend
Alternately, Boy friend. No example necessary (there is one in nearly every story).
o Unpleasant personage
He is just there to make trouble for the other characters. Example: Mr. Collins from Pride and Prejudice.
o Other
There are probably lots of other types of characters that you can put in a story; I have just put the ones I can think of.
He is the hero’s friend. In some stories he is better than the hero, but in a good story he shouldn’t be. Sometimes he is the foil. Example: Little John from Robin Hood.
o Little brother/sister
This is somebody the hero has to look after, although it does not have to be his brother or sister. Example: Little Eva from Uncle Tom’s Cabin.
o Protector
This is someone who looks after the hero. He is especially useful in stories where the hero is a child. Example: Aunt Miranda from Rebecca of Sunny Brook Farm.
o “Good” bad guy
He is a “bad” guy that you like, so of course you have to reform him. Sometimes he is bad just because he is on the other side, for instance, Japanese; Indians; Frenchmen. Example: Muff Potter from The Adventures of Tom Sawyer.
o Girl friend
Alternately, Boy friend. No example necessary (there is one in nearly every story).
o Unpleasant personage
He is just there to make trouble for the other characters. Example: Mr. Collins from Pride and Prejudice.
o Other
There are probably lots of other types of characters that you can put in a story; I have just put the ones I can think of.
Make good combinations of characters. Put in both children and adults, both boys and girls, and both nice people and nasty people.
IV. The Setting
It is important to do research about the setting (unless you are making it up). It consists of two things: Place and Time.
1. Place
o Is the story set in Europe, Asia, or (for silly people) another planet?
o Is it set in the jungle, tundra, plains, etc.?
o Is it on a steamer, in a hotel, or in a barracks?
o Or, does it cover lots of different places? (As in Around the World in Eighty Days.)
o Is it set in the jungle, tundra, plains, etc.?
o Is it on a steamer, in a hotel, or in a barracks?
o Or, does it cover lots of different places? (As in Around the World in Eighty Days.)
2. Time
o What time of year is the story set in?
This is not always important, of course.
o What time period is the story set in?
Is the story about Picts, Knights, or Anthropologists? What things were invented at that time? How did people talk? (American—yeah, wow, cool, great, etc.—wasn’t spoken until more recently.)
o Historical fiction
This is a story about an actual historical event. Please don’t make it like most historical fiction. If it is about WWII do not make the hero a Jew in Poland; if it is about the Civil War do not make the hero meet either Gen. Jackson or Abraham Lincoln. The hero also should not meet up with his best friend (if they are on opposite sides) in the middle of a battle.
This is not always important, of course.
o What time period is the story set in?
Is the story about Picts, Knights, or Anthropologists? What things were invented at that time? How did people talk? (American—yeah, wow, cool, great, etc.—wasn’t spoken until more recently.)
o Historical fiction
This is a story about an actual historical event. Please don’t make it like most historical fiction. If it is about WWII do not make the hero a Jew in Poland; if it is about the Civil War do not make the hero meet either Gen. Jackson or Abraham Lincoln. The hero also should not meet up with his best friend (if they are on opposite sides) in the middle of a battle.
V. Other Ingredients
1. Sentiment
Sentiment is the sort of things that make a story sad or mushy. Some people don’t like Sentiment, but it has its place. Here are some ways to put it in your story:
Sentiment is the sort of things that make a story sad or mushy. Some people don’t like Sentiment, but it has its place. Here are some ways to put it in your story:
o Make someone die
I like to do this (and so do lots of writers), but don’t make the story too sad, or people may not want to read it again.
o Make the readers feel sorry for someone
This is very useful for making readers like your hero, especially if he is going to be bad before he gets good. People will be easier on someone they feel sorry for. You can also make them feel sorry for the villain if you are going to reform him.
o Put songs in
o Put in birds and flowers
I like to do this (and so do lots of writers), but don’t make the story too sad, or people may not want to read it again.
o Make the readers feel sorry for someone
This is very useful for making readers like your hero, especially if he is going to be bad before he gets good. People will be easier on someone they feel sorry for. You can also make them feel sorry for the villain if you are going to reform him.
o Put songs in
o Put in birds and flowers
2. Romance
I mean the kind that is about a man and lady falling in love.
I mean the kind that is about a man and lady falling in love.
o Omit if possible
Romance, unless it is absolutely necessary, detracts more than it puts in. Besides, the seasoned writer can tell right from the beginning who will marry who, even if it is supposed to be a surprise.
o If impossible,
DO NOT make it sappy. Make the lovers sensible at least. The best way to do that is to make it funny. Put them in a ridiculous situation.
Romance, unless it is absolutely necessary, detracts more than it puts in. Besides, the seasoned writer can tell right from the beginning who will marry who, even if it is supposed to be a surprise.
o If impossible,
DO NOT make it sappy. Make the lovers sensible at least. The best way to do that is to make it funny. Put them in a ridiculous situation.
3. Poetry
This is the kind of Poetry that the pirates of Penzance sang about.
“Hail, Poetry…
Thou gildest even the pirate’s trade!”
What they meant were the sort of things in a story that don’t generally happen in real life, but everyone wishes they would happen—like a hero riding up on a white horse. The pirate’s life is not very nice, but people like to think of it as being so, because it is full of adventure. Now, up to this time, I have been telling you to be true to life, but there are times when writing stories when it is better not to be true to life. So, although people don’t usually escape from prison by filing the window bars and diving into the moat, make them do it anyway because it makes it more interesting. And although people don’t usually say anything interesting for their last words, you can make them have an eloquent deathbed speech, because that is poetical and makes for a good story. Here are some ways to put poetry in.
This is the kind of Poetry that the pirates of Penzance sang about.
“Hail, Poetry…
Thou gildest even the pirate’s trade!”
What they meant were the sort of things in a story that don’t generally happen in real life, but everyone wishes they would happen—like a hero riding up on a white horse. The pirate’s life is not very nice, but people like to think of it as being so, because it is full of adventure. Now, up to this time, I have been telling you to be true to life, but there are times when writing stories when it is better not to be true to life. So, although people don’t usually escape from prison by filing the window bars and diving into the moat, make them do it anyway because it makes it more interesting. And although people don’t usually say anything interesting for their last words, you can make them have an eloquent deathbed speech, because that is poetical and makes for a good story. Here are some ways to put poetry in.
o Make people wear effective costumes
You can describe the clothes a little bit if they are interesting.
o Put in secret passages and hidey-holes
o Put in buried treasure
o Make coincidences
People will willingly suspend their disbelief while they are reading a story, and you can exploit this by making unrealistic coincidences, like doubles (people who look exactly alike, though unrelated); or long-lost somebody-or-other showing up at an opportune moment.
o If someone is sick make it a nice, poetic illness, like scarlet fever or consumption (don’t make him get chicken pox.)
You can describe the clothes a little bit if they are interesting.
o Put in secret passages and hidey-holes
o Put in buried treasure
o Make coincidences
People will willingly suspend their disbelief while they are reading a story, and you can exploit this by making unrealistic coincidences, like doubles (people who look exactly alike, though unrelated); or long-lost somebody-or-other showing up at an opportune moment.
o If someone is sick make it a nice, poetic illness, like scarlet fever or consumption (don’t make him get chicken pox.)
4. The Other Kind of Poetry
This is lots of fun to put in too—if you are a good poet. Some people don’t like poetry, so don’t put too much in or they will get bored. The beginning and end of a story are two good places to put a poem.
This is lots of fun to put in too—if you are a good poet. Some people don’t like poetry, so don’t put too much in or they will get bored. The beginning and end of a story are two good places to put a poem.
o If you put one before the story:
It should give a hint as to what the story is about. Some authors use other people’s poetry or quotations as chapter headings instead of a chapter title (called an epigram), but it is difficult to come up with ones that fit unless you are very widely read. Bartlett’s Familiar Quotations can help.
o If you put one after the story:
It should sum up the story. This is fun to do if you can make up a poem to go with your story. If you can’t, that is all right too, because it makes you look smart if people can’t tell how the story and poem go together.
It should give a hint as to what the story is about. Some authors use other people’s poetry or quotations as chapter headings instead of a chapter title (called an epigram), but it is difficult to come up with ones that fit unless you are very widely read. Bartlett’s Familiar Quotations can help.
o If you put one after the story:
It should sum up the story. This is fun to do if you can make up a poem to go with your story. If you can’t, that is all right too, because it makes you look smart if people can’t tell how the story and poem go together.
You can also put a poem in the story itself, of course.
5. Suspense
This is very good to make your readers keep reading your book—just don’t over-do it.
This is very good to make your readers keep reading your book—just don’t over-do it.
o Don’t make obvious suspense
Everybody knows that the hero is not going to have a gigantic rock dropped on him and fall a million feet to the canyon floor.
o Don’t make every chapter end in suspense
The story will get very predictable if you do.
o Mystery
Mystery makes some splendid suspense, but it has to be important to the story and it has to be explained at some point. The bad guy shouldn’t do the explaining, by the way (over-done in mystery stories).
Everybody knows that the hero is not going to have a gigantic rock dropped on him and fall a million feet to the canyon floor.
o Don’t make every chapter end in suspense
The story will get very predictable if you do.
o Mystery
Mystery makes some splendid suspense, but it has to be important to the story and it has to be explained at some point. The bad guy shouldn’t do the explaining, by the way (over-done in mystery stories).
Suspense has so often been misused in cheap thrillers that it is very important to use it carefully or it will spoil a good book.
6. Food
I cannot understand why this is so neglected in most stories. People seem to think that talking about food is uncultured. The truth is that it can add a lot of flavour to your work (I do not mean to make a joke). You shouldn’t describe the food in too much detail for fear of becoming tiresome, but it is splendid to read about someone enjoying a good meal with a brief list of what he had to eat—it is almost as good as having a meal yourself.
I cannot understand why this is so neglected in most stories. People seem to think that talking about food is uncultured. The truth is that it can add a lot of flavour to your work (I do not mean to make a joke). You shouldn’t describe the food in too much detail for fear of becoming tiresome, but it is splendid to read about someone enjoying a good meal with a brief list of what he had to eat—it is almost as good as having a meal yourself.
VI. The Appearance
This is how your story looks when finished.
1. Length
o Don’t make the story too long
Some people do not read Les Miserables or War and Peace because they are intimidated by their size, so if you cannot help but make a long story publish it in two or three volumes.
o Too short
I do not think there is such a thing as too short a book. I especially like a book that can fit in one’s pocket. It is splendid for carrying about and is more likely to be read.
Some people do not read Les Miserables or War and Peace because they are intimidated by their size, so if you cannot help but make a long story publish it in two or three volumes.
o Too short
I do not think there is such a thing as too short a book. I especially like a book that can fit in one’s pocket. It is splendid for carrying about and is more likely to be read.
2. Title
There are lots of ways to name your story.
There are lots of ways to name your story.
o Name it after what the story is about
Example: A Tale of Two Cities.
o Name it after the main events in the story
Ex: Crime and Punishment.
o Name it after a place in the story
Ex: Mansfield Park.
o Name it after a famous quotation
Ex: The Grapes of Wrath.
o Name it something catchy
Ex: Men of Iron.
o Name it after the main character
This is only if you can’t think of anything else to name it. Ex: David Copperfield.
Example: A Tale of Two Cities.
o Name it after the main events in the story
Ex: Crime and Punishment.
o Name it after a place in the story
Ex: Mansfield Park.
o Name it after a famous quotation
Ex: The Grapes of Wrath.
o Name it something catchy
Ex: Men of Iron.
o Name it after the main character
This is only if you can’t think of anything else to name it. Ex: David Copperfield.
3. Extras
There are many things that can be added to a book afterwards.
There are many things that can be added to a book afterwards.
o Frontispiece
o Foreword
o Preface
o Introduction
o Acknowledgements
o Dedication
o Prologue
o Epilogue
o Afterword
o Footnotes
o Bibliography
o Appendices
o Biographical Note
o Foreword
o Preface
o Introduction
o Acknowledgements
o Dedication
o Prologue
o Epilogue
o Afterword
o Footnotes
o Bibliography
o Appendices
o Biographical Note
VII. Tone
You can tell the readers what sort of fellow you are by the way you write your story. This is called the Tone of the writing.
You can tell the readers what sort of fellow you are by the way you write your story. This is called the Tone of the writing.
1. Style
Two kinds of style are Casual and Formal
Two kinds of style are Casual and Formal
o Casual
style is when you write as if you were talking to a friend, or someone you like.
o Formal
style is when you write as if you were talking to a professor, or someone you don’t like.
style is when you write as if you were talking to a friend, or someone you like.
o Formal
style is when you write as if you were talking to a professor, or someone you don’t like.
You can use either when writing a story, but I do not think you ought to use both (although I think I have in this publication).
2. Clean Language
I put this in because in this degenerate age it is so rare to hear people be careful with their language.
I put this in because in this degenerate age it is so rare to hear people be careful with their language.
o Nice
Avoid references to the bathroom.
o Reverent
“A volley of oaths” will suffice to convey your meaning to your readers without broadening their vocabulary in certain forms of communication. Substituting blanks or asterisks for language unprintable in dialogue also works nicely.
Avoid references to the bathroom.
o Reverent
“A volley of oaths” will suffice to convey your meaning to your readers without broadening their vocabulary in certain forms of communication. Substituting blanks or asterisks for language unprintable in dialogue also works nicely.
3. Opinion
One way for people to find out what you are like is if you put your opinions in your writings, but you must be careful.
One way for people to find out what you are like is if you put your opinions in your writings, but you must be careful.
o Don’t express an opinion too strongly
Perhaps you may change your mind later, and of course not everyone will agree with you, so politely offer it as an opinion and do not force it on your readers.
o Make sure it is your own
It is all right to agree with other people’s opinions, but make sure you have a good reason for doing so and not just because you like the person.
o Make sure it agrees with the truth
Perhaps you may change your mind later, and of course not everyone will agree with you, so politely offer it as an opinion and do not force it on your readers.
o Make sure it is your own
It is all right to agree with other people’s opinions, but make sure you have a good reason for doing so and not just because you like the person.
o Make sure it agrees with the truth
4. Right and Wrong
The Bible is the basis for what is right and wrong.
The Bible is the basis for what is right and wrong.
o Punish bad people
Don’t let the villain get away with his villainies. He must be punished somehow, although you can save it for a sequel. Reforming him is all right as long as you make him sorry for what he’s done.
o Punish bad actions
If your hero does something bad, make sure he learns his lesson. Don’t ever make the end justify the means.
o Don’t make Evil the winner
Overcome Evil with Good. That is the point of a hero.
o Don’t put in bad things
Some writers (the French, generally) like to put in some really wicked deeds, but it is easier for you if you put in more easily punishable things. Death penalties are always unpleasant and murders, etc. are not generally edifying. Don’t worry if people call your stories tame. That is a compliment nowadays.
o Don’t make excuses for bad causes
Like the Confederacy, Germany, etc.
o Make the story teach a lesson
Then it is a useful story.
Don’t let the villain get away with his villainies. He must be punished somehow, although you can save it for a sequel. Reforming him is all right as long as you make him sorry for what he’s done.
o Punish bad actions
If your hero does something bad, make sure he learns his lesson. Don’t ever make the end justify the means.
o Don’t make Evil the winner
Overcome Evil with Good. That is the point of a hero.
o Don’t put in bad things
Some writers (the French, generally) like to put in some really wicked deeds, but it is easier for you if you put in more easily punishable things. Death penalties are always unpleasant and murders, etc. are not generally edifying. Don’t worry if people call your stories tame. That is a compliment nowadays.
o Don’t make excuses for bad causes
Like the Confederacy, Germany, etc.
o Make the story teach a lesson
Then it is a useful story.
5. Happy and Sad
o Humour
Humour is ever so much fun to put in. You should especially make the hero have a good sense of humour and the villain too (although his will, of course, be somewhat warped).
o Make the hero an optimist
That is the way he solves his problems. If he were always moping about with a defeatist attitude he would never get anywhere. (If he is a pessimist make him learn his lesson.)
o Make sad parts useful
Sad things in the story can be used to teach valuable lessons to the characters and to make them better chaps. Otherwise, please leave out sad episodes for the readers’ sakes.
o Make a Happy Ending
I discussed the end in the plot section, but I would like to add here that you should always make a happy ending. In life, things don’t always have happy endings, but people don’t read stories so they can find out what life is like; they already know that. They generally read stories about how they would like life to be. Pessimistic writers tend to tell how awful life is (and they are right), but optimistic writers tell how one can make life better and this is much pleasanter and more useful. And having finished with that, I will here
Humour is ever so much fun to put in. You should especially make the hero have a good sense of humour and the villain too (although his will, of course, be somewhat warped).
o Make the hero an optimist
That is the way he solves his problems. If he were always moping about with a defeatist attitude he would never get anywhere. (If he is a pessimist make him learn his lesson.)
o Make sad parts useful
Sad things in the story can be used to teach valuable lessons to the characters and to make them better chaps. Otherwise, please leave out sad episodes for the readers’ sakes.
o Make a Happy Ending
I discussed the end in the plot section, but I would like to add here that you should always make a happy ending. In life, things don’t always have happy endings, but people don’t read stories so they can find out what life is like; they already know that. They generally read stories about how they would like life to be. Pessimistic writers tend to tell how awful life is (and they are right), but optimistic writers tell how one can make life better and this is much pleasanter and more useful. And having finished with that, I will here
END
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