How to Write a Good Story

By JoyCronje

307K 8.1K 1.1K

This book is a collection of resources and random tips that will help you become a better writer and create s... More

Body Language (I)
Body Language (II)
Body Language (III)
Body Langauge (IIII)
Advice from Cliff Pickover (I)
Advice from Cliff Pickover (II)
Advice from Cliff Pickover (III)
Advice from Cliff Pickover (IIII)
Donna Ippolito
Dialogue: The Music of Speech (I)
Dialogue: The Music of Speech (II)
Dialogue: The Music of Speech (III)
Dialogue: The Music of Speech (IIII)
Elizabeth Sims
7 Ways to Make a Good Story Great (I)
7 Ways to Make a Good Story Great (II)
7 Ways to Make a Good Story Great (III)
Fixing Common Plot Problems (I)
Fixing Common Plot Problems (II)
Fixing Common Plot Problems (III)
Fixing Common Plot Problems (IIII)
Interlude: Joy on writing a good story
Using the Reverse Dictionary
'Ly' Adverbs (I)
'Ly' Adverbs (II)
'Ly' Adverbs (III)
Ernest Hemingway's app and advice (I)
Ernest Hemingway App and Advice (II)
Ernest Hemingway App and Advice (III)
Ellen Brock: Omniscient Narrator & Third Person Voice (I)
Omniscient Narrator & Third Person Voice (II)
Omniscient Narrator & Third Person Voice (III)
Interlude: Fun stuff (I)
Interlude: Fun stuff (II)
Randy Ingermanson: the Snowflake Method (I)
the Snowflake Method (II)
the Snowflake Method (III)
the Snowflake Method (IIII)
Gayle Moran on Points of View in Writing
Points of View in Writing (II)
Naming your Characters
Interlude: Joy on Plotting and Characters (I)
Interlude: Joy on Plotting and Characters (II)
Writing From more than one Point of View
Writing from More than One Point of View (II)
Janice Hardy on Multiple Point of View Characters
Jody Hedlund: 7 POV Tips -Avoid being Branded as an Amateur
Words To Describe a Character's Voice
Fictional vs Real Settings for your Story
Janice Hardy: 10 Questions to Ask when Choosing a Setting (I)
10 Questions to Ask when Choosing a Setting (II)
Randall S Hansen: Expanding Your Vocabulary (I)
Expanding Your Vocabulary (II)
Amanda Patterson: Guaranteed ways to bore your reader
Richard Nordquist: 200 Common Redundancies (I)
Common redundancies (II)
200 Common Redundancies (III)
Eight Ways to Strengthen your Prose
Leo Babauta: 31 Ways to Find Inspiration for Your Writing
31 Ways to Find Inspiration for Your Writing (II)
Interlude: Joy on overcoming writer's block
ProofEditWrite.com: Avoid Clichés
Avoid Clichés (II)
Words to Describe a Room
David Mesick: Three Things that will Make your Characters Deeper
Rachelle Gardner: How to cut Thousands of Words without Shedding a Tear
Passed or Past? (grammarmonster.com)
Bare vs. Bear
Chuck Wendig: 25 Things a Great Character Needs
HOW TO PLOT A STORY
ACTIVE AND PASSIVE VOICE
Grammar Girl & Grammar Party: until, 'til, till, til
Gilliane Berry: The Ten Worst Ways to End a Book
Gary Korisko: How to Write With Confidence
silverpen.org: Grand List of Fantasy Clichés
Chuck Wendig: said or fancy-pants words
When Should We CaPiTaLizE?
Rob Hart: Plot Clichés
Strange Horizons: Stories we've seen too often (I)
Strange Horizons: Stories we've seen too often (II)
Strange Horizons: Horror stories we've seen too often
PunctuationMadeSimple.com
Punctuationmadesimple.com: The Apostrophe

SaidSimple: When To Start A New Paragraph

825 37 4
By JoyCronje

THE BIG IDEA

Learning how to break your stories and essays into paragraphs is a confusing but important job. Nobody ever really sits down to tell you the basic rules about when to make a new paragraph, so you generally have to muddle along, making the rules up for yourself. This is too bad. New paragraphs are important for the reader. They tell when you're switching time, place, topic or speaker, and they help break the page up so it is not just a solid block of writing. Seeing that can be discouraging, and you don't want your reader to be discouraged before she even starts to read.

BEFORE YOU BEGIN

You don't really have to have anything done before you begin this process. You can break a piece of writing into paragraphs after you've written it, or you can do it as you go. Doing it as you go is the best choice, but you might not be able to do that right off the bat.

HOW TO DO IT

There are a few standard times to make a new paragraph:

When you start in on a new topic

When you skip to a new time

When you skip to a new place

When a new person begins to speak

When you want to produce a dramatic effect

Let's look at them one at a time.

New Topic:

This one's mainly for essays. Every time you go on to a new topic, you should make a new paragraph.

New Time:

This one—and the rest—are mainly for use in short stories. Whenever you skip some time, that will probably be the right place to make a new paragraph. If you find yourself using phrases or sentences like these, you are skipping some time:

Later that day,

The next morning,

Five hours passed.

They waited and waited.

Life in Dullsville remained unchanged.

The seconds seemed like hours.

New Place:

Scenes in stories generally happen in one place. When the characters go to a new place, a new scene happens. At the very least, a new paragraph happens. Any time you have a "Meanwhile, back at..." phrase in your story, make a new paragraph.

New Speaker:

If you're doing a good job, your short stories are going to have dialogue, or characters talking to each other. Dialogue helps bring stories to life. Every time you switch speakers, you make a new paragraph. Sometimes this means that your paragraphs are really short, because all a character might say is, "Nope." If that's all he says, though, that is as long as the paragraph needs to be. Another thing to remember is that, if you put the "he said" phrase before the quote, or you character does some action before he speaks, you should make that part of the same paragraph as the quote.

Action That Serves As Part of the Dialogue:

A good writer will break long stretches of dialogue up with snatches of action. This is good for the rhythm of the piece. Changing things up makes the conversation flow smoothly, at least from the reader's standpoint. It also helps make a picture in the reader's mind by inserting just the right detail to bring the scene to life. The last reason for using this kind of paragraph break is that people don't always reply with words. Sometimes they shrug or make a face or ignore the other speaker entirely.

Dramatic Effect:

Sometimes you simply want a paragraph to stand out, or you want to slow the reader down and control the pace of the story. At times like this, you can make a brief sentence—or even a word—an entire paragraph. Just don't overdo it; this gets old fast.


For more, visit saidsimple.com

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