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Temptation and Vice: Writing Fictional Characters

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“Knowing was a temptation. What you don’t know won’t tempt you.“ Margaret Atwood. The Handmaid’s Tale

Food, laziness, and material possessions; lying, cheating, and stealing. These are true-life vices, and they are also ones found in fictional settings. Writing fictional characters can be difficult. Yet, writers must understand that temptation and vice are powerful literary tools for creating endearing heroes and complex villains.

The Temptation of Adam and Eve

To begin, in perhaps the most famous example of temptation, Adam and Eve gave into their temptations and vices in the Garden of Eden.

As stated in The Holy Bible: King James Version: “And when the woman saw that the tree was good for food, and that it was pleasant to the eyes, and a tree to be desired to make one wise, she took of the fruit thereof, and did eat, and gave also unto her husband with her; and he did eat … And the eyes of them both were opened, and they knew that they were naked; and they sewed fig leaves together, and made themselves aprons” (King James).

In this context, the Lord punishes Adam and Eve to live in toil–they are to be human. Their short-term wants doomed them forever, and kept them from paradise. As such, there is no way they could aspire to the convictions of community that is necessary for a productive life.

What this says of writing fictional characters is rather direct. Temptation in literature takes the form of vices; typically the ones that entice us the most. Characters in dramas want what they can’t have—hero and villain alike.

Temptation and Vice in Hansel and Gretel

In folklore, temptation is a reoccurring theme. It fits the religious morality stories present in the Bible—but for children. For instance, in the story of “Hansel and Gretel,” the children’s parents leave them to die in the woods. After becoming lost, they come to a candy house where they are nearly murdered by an evil witch.

As it relates to our main point regarding temptation and vice, the candy house attracts Hansel and Gretel. There, a witch nearly eats them due to their thievery and her hunger for child flesh. In these stories, it is endlessly fascinating to see that authors tempt children into doing childish things. Eating candy and being naïve are commonplace in a child’s life. Nevertheless, overindulgence wreaks havoc on those naive enough to pursue it to its end.

As stated in “Hansel and Gretel” in Grimm Stories: “… when they came nearer they saw that the house was built of bread, and roofed with cakes; and the window was of transparent sugar… So Hansel reached up and broke off a bit of the roof, just to see how it tasted, and Gretel stood by the window and gnawed at it … And they went on eating, never disturbing themselves. Hansel, who found that the roof tasted very nice, took down a great piece of it, and Gretel pulled out a large round window-pane, and sat her down and began upon it.”

Writing fictional characters in stories often asks the writer to find vices that will hurt their darlings. These vices include love, drugs, fame, and excess. These wants often end in disaster or the character learns a lesson (theme) and changes (dynamically). While there are a variety of ways to interpret this idea, creating conflict in a character’s life is paramount in great stories.

Temptation and Vice in Frankenstein

Moreover, this theme appears in stories beyond physical temptation. For instance, the temptation of playing God in Mary Shelley’s Frankenstein causes Dr. Frankenstein to create a monster who he can’t possibly love. In the story, Dr. Frankenstein studies for years to learn how to reanimate life. However, his creation is so horrible that he flees from it, only to be haunted by its specter until he dies in an attempt at revenge for his own foibles.

Frankenstein’s temptation to create a living creature was too great a motivator for him to ignore. His education and background both compelled him to commit an act against nature in a violent, vice-driven explosion of science. When reproached by his monster, it tells him: “Yet it is in your power to recompense me, and deliver them from an evil which it only remains for you to make so great…”

Writing fictional characters also means writing them to pursue their interests. However, this doesn’t have to lead to strictly good outcomes. Just because a character is talented doesn’t mean that talent will save them from retribution.

Temptation and Vice in “Goblin Market”

Furthermore, in “Goblin Market” by Christina Rossetti, a strange goblin-run market tempts two young girls with its tantalizing delicacies. The story is a morality play, and features two children, Laura and Lizzie. They attempt to avoid a Goblin Market where all manner of delicious foods are displayed.

The goblins scream for patronage: “Come by our orchard fruits, / Come buy, come buy;” enticing anybody who can hear their voice to visit their stand. And who could resist? There are a variety of mouth-watering sweets: “Apricots, strawberries;– / … grapes fresh from the vine, / Pomegranates full and fine,” and so on.

Temptation is real for adults, but it’s especially real for children who have not honed and tempered discipline as a way of life. “We must not look at goblin men, / We must not buy their fruits:” Laura and Lizzie tell each other, afraid of what the goblins have used to feed the fruits “thirsty roots.” Later, they discuss the fruit as “honey to the throat / But poison in the blood.”

The girls discover, much like a well-written character would, that the love of fruits and sweets are not necessary to have an enjoyable life. Rather, those around you, our community, provide this meaning, as “… there is no friend like a sister / In calm or stormy weather;” Perhaps through these exploits characters learn that their vices can drive them to a more meaningful existence, if only to deny them. Consequently, their temptation leads them to a better understanding of the world around them.

Conclusion

Many more examples of this theme exist in literature. Some examples include the near destruction of Odysseus’s ship by the Sirens in The Odyssey the temptation of wealth in The Great Gatsby, the One Ring in The Lord of the Rings, and the characters’ vice in regaining its power. Writers can use all these examples to flesh out their characters.

By giving characters–protagonists and antagonists–fatal flaws and dark traits, the writer is creating a lived-in world, which goes beyond realistic fiction. Temptation, as we know it, is a dangerous threat to life and happiness. By marking characters with this type of defect, writers actually enrich the reading experience. Ultimately, what characters desire truly makes stories worth reading.

Works Cited

Grimm, Jacob and Wilhelm. “Hansel and Grethel.” The Complete Fairy Tales, translated by Jean Hersholt, Anchor Books, 1975.

Rossetti, Christina. “Goblin Market.” The Norton Anthology of English Literature, edited by Stephen Greenblatt, 10th ed., W. W. Norton & Company, 2018

Shelley, Mary. “Frankenstein; or, The Modern Prometheus.” Edited by J. Paul Hunter, Oxford University Press, 2012.

“The Holy Bible: King James Version.” King James Bible Online, https://www.kingjamesbibleonline.org/Genesis-2-4_3-24/.

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Imagery and Figurative Language: Definitions, Examples & Types

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Blink, and you’ll miss it. The images flash in your mind, and you can see the stars, a forest, or a sunset on a beautiful evening. The sounds come alive too. You can hear the crickets or the droplets of water falling onto a steel bucket near the shed after a recent storm. The smells of fresh rain and leaves waft through your nose, and you can feel the autumn chill on your skin. It’s time to put on a warm, wool sweater.

Imagery and figurative language is at its best in experiential writing, especially when executed with finesse. But, how do you write with imagery, figurative language, and sensory details well? It can be tricky, but if you employ a few basic principles, then it becomes easier with practice and time. In this post, we are going to define imagery, explore how to use it, and understand why it is an important component of writing.

Defining Imagery and Using it in writing

Imagery is a blend of various elements, encompassing the types of language we employ and how we employ it. Some sources define imagery as language designed to be vivid and to engage a reader’s senses. According to Del Mar College, “In literature, imagery refers to words that trigger the reader to recall images or mental pictures, engaging one of the five senses… Imagery is one of the most powerful literary techniques because it connects with the reader’s personal experiences or memories.” Therefore, imagery can be described as the “mental images” conjured in a reader’s mind while they read.

As writers, we often use language that appeals to sight, hearing, smell, touch, or taste to make an event or scene more tangible to the reader. This is referred to as using sensory language. In the introduction, I attempted to describe a scene that is familiar to most people without overdoing it. We can see, hear, and smell that scene with minimal effort.

In this approach, we must “show” rather than “tell,” which means we should describe an experience instead of simply narrating it. For example:

  • Tell: He walked into a room in mid-December and grabbed a book off the old shelf before he left.
  • Show: The creaky old door greeted him as he entered the acrid-smelling room. The books on the shelf had damaged bindings and moth-eaten exteriors. He noticed one book had no binding at all, and a shiver ran up his spine as the cold seemed to creep in. He hurriedly left the room, slamming the ancient door shut behind him in a plume of dust.

Using Figurative Language Expertly

Another effective approach to employing imagery is by using figurative language. For example: similes and metaphors create vivid comparisons between two unlike things to draw a clearer picture in the readers’ minds eye.

Take a look at the following example:

  • Metaphor: The trees danced in the wind.
  • Simile: The trees danced like the wind was their music.

In both cases, a clear picture is painted; the trees are moving in the wind as a dancer would. This brings the reader into your writing because it allows them to see the picture you are painting through comparative subjects. Take something they’ve never seen and pair it with something they have–it’s a recipe for creative writing success.

What is more, employing onomatopoeia–like BOOM, Buzz, and Hum–and hyperbole–like my backpack weighs a ton!–can add sound effects and exaggeration to make your writing stand out and relatable. Again, drawing pictures with figurative language is essential to make your writing more realized.

Consider reading through some poems to familiarize yourself with these types of creative elements.

Conclusion

In conclusion, when writing, we should be mindful of the mental images we are creating for our audience. Readers appreciate descriptions, but not just any descriptions—they should be accurate and purposeful. Imagery should bring us closer to conveying our message, not further away. If you feel that your descriptions are not effectively conveying your message or if they seem dull, consider implementing imagery techniques such as similes, metaphors, or sensory descriptions.

Blog, Writing Craft

How to Write a Strong Polemic: Tips for Writers

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As Oscar Wilde stated: “Arguments are to be avoided, they are always vulgar and often convincing.” In rhetorical practice (and writing), there are a lot of considerations. From the rhetorical triangle to the rhetorical canon, from procatalepsis and anaphora, to polemics. Nevertheless, these considerations are important for writers, whether they are consciously making rhetorical decisions or not. In this post, we look at the term “polemic” (po-lem-ick) to better understand how to recognize and utilize this argumentative form, and how to apply this understanding to our own writing.

Denotation

Polemics can be defined as “an aggressive attack on or refutation of the opinions” of the ideologies of others. Equally, some dictionaries define “polemics” as “a very strong written or spoken attack on, or defense of, a particular belief or opinion” (Collins). Additionally, the term comes from the Greek “polemikos,” which means “’warlike’ or ‘hostile’” according to some sources (Merriam-Webster). In other words, polemic writing is writing with fervor.

Furthermore, while the definitions are both kind, both denotations are side-stepping the controversial nature of a polemic. Often, the use of “aggressive” and “very strong” in the dictionary imply that the individual writing or arguing is an ardent, emotional person.

Additional Considerations

The best way to think of a polemic is as an argumentative essay with a little bit more umph. Pathos, an emotional appeal in rhetoric, is the usage of emotion to make a point. Similarly, polemics rely on using the reader’s emotions to make that point. So there is a relationship amongst other rhetorical appeals and polemic discourse.

Examples

Polemical examples are far-stretching. Emile Zola’s J’Accuse could be considered a polemic as it fits within the definition of an ardent “refutation of opinions.” In this case, Zola used his stature as a writer to speak-out against the treasonous accusations against a Jewish officer. The refutation against antisemitism in Zola’s letter, combined with the judicial errors made by the court, create a polemical response.

Furthermore, “A Modest Proposal” by Jonathan Swift is another famous example of a polemic, regardless of its satirical elements, as it displays an “aggressive” argument against British treatment of the Irish. Swift felt emotionally about the topic and so the biting wit of his essay comes out a lot stronger than if he had felt emotionally tepid. The pathos here is very real and very apparent.

Lastly, Animal Liberation by philosopher Peter Singer provides a fervent disagreement with dietary choices in modern culture and the ramifications of those choices, from pollution to health, and its impact on our environment and the lives of sentient beings. Singer has spent many years arguing and defending his controversial takes on animal treatment, thus Animal Liberation is a “forceful” argument against factory farming and the sentience of creatures on Earth.

How to use polemics in your own writing

When thinking about using polemics in your own writing, writers must be careful. It is easy to be passionate about something, but it is even easier to be passionate and incorrect. Discourse is difficult because it requires writers to take time to research and craft their arguments carefully, while keeping refutation in mind.

Some things to be considerate of:

  1. Is your position clear (stated and structured)?
  2. Have you researched your position clearly (academically)?
  3. Is your position clearly passionate, using passionate language?
  4. Are you asking a lot of rhetorical questions?
  5. Have you considered what the opposition might say?
  6. Are you using a “call to action” to compel the reader?

Conclusion

To sum it up, the most successful modern dialogues seem to be those that address an issue from a polemical perspective. It is either passionate or it is muted. It is either fervent or lame. In this way, polemical discourse dominates our perspectives. Not to mention, we see polemics every day on our phones from friends, families, complete strangers, public relations specialists, and leaders of the world. Polemical dialogue is a go-to form of argument.

Remember, polemics are about the fervent argumentation of one’s opinions. Therefore, anything you feel passionate about can easily become a polemic. Relatedly, you can see these arguments in famous writers’ works, such as Jonathan Swift and Peter Singer. And, asking yourself basic questions to employ these practices in your writings will help you create more impassioned, convincing arguments.

Works Cited

“Polemic.” Merriam-Webster. Accessed on May 4, 2023. Web: https://www.merriam-webster.com/dictionary/polemic

“Polemic.” Collins. Accessed on May 4, 2023. Web: https://www.collinsdictionary.com/us/dictionary/english/polemic

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Exploring Sestina Poem Examples and Their Unique Features

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Poems are a fun, complex thing. They can take many forms, from acrostic to haikus. Likewise, some poems take the sestina verse form, which have their own complex way about them. In this post, we will define these types of poems and look at a few examples.

Background

The sestina was developed by Arnaut Daniel, who was a troubadour during the 12th century, and the first known example of his craft was “lo ferm voler qu’el cor m’intra,” which was written around 1200.

Many sestinas were about “courtly love” and were practiced by Dante and Petrarch. Similarly, the form has taken on many variations, including double sestinas and tritina (poets.org).

Definition

As mentioned, poems are intricate, and sestina verse form is a great example of that complexity.

“The sestina is a complex, thirty-nine-line poem featuring the intricate repetition of end-words in six stanzas and envoi” states some sources (poets.org). An envoi, in this case, is just a brief stanza at the end of a poem that either addresses the poem or acts as explanatory remarks.

“The end words of the first stanza are repeated in a different order as end words in each of the subsequent five stanzas; the closing envoi contains all six words, two per line, placed in the middle and at the end of the three lines” (poetryfoundation)

A sestina would look like this in scheme:

ABCDEF

FAEBDC

CFDABE

ECBFAD

DEACFB

BDFECA

ECA or ACE

Examples of Sestinas

  1. Elizabeth Bishop’s “A Miracle for Breakfast” 
  2. Camille Guthrie’s “Beautiful Poetry”
  3. John Ashbery’s “Farm Implements and Rutabagas in a Landscape.”
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Ray Bradbury’s Hygiene of Writing Advice

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Listening to authors give interviews often helps us understand their process. That is to say, spur of the moment questions can be revealing. Author and speculative-fiction master Ray Bradbury has a wealth of great interviews that help listeners understand his approach to writing. Ray Bradbury’s writing concepts are both ideological and practical. Often times, understanding the spirit of his advice is what will push you toward success.

In this post, we are going to look at a transcript of a talk he gave on a specific approach to immersing oneself in the world of writing. The talk was published by The Narrative Art channel on YouTube, and I have published the transcript here. In this dialogue, he talks about the most important texts to consume if you are a budding author. It is certainly an interesting dissection of his process and his take on the “hygiene of writing” is enticing. If anything, I believe you can take something from his talk for your own writing.

Ray Bradbury and “The Hygiene of Writing” Transcript

“There’s a lot I want to say because I recognize the need many of you have to be writers, and you don’t want to do the wrong things. So for at least five minutes, I want to talk about the hygiene of writing for you so you won’t do anything wrong in the next year.

The first thing that comes to mind is the danger of writing novels to start. I don’t know how many of you are writing novels now. If they’re going well, you don’t have to listen to me. But the problem with novels is you could spend a whole year writing one, and it might not turn out well because you haven’t learned to write yet. The best hygiene for beginning writers—or intermediate writers—is to write a hell of a lot of short stories.

If you could write one short story a week, it doesn’t matter what the quality is to start, but at least you’re practicing. And at the end of a year, you have 52 short stories, and I defy you to write 52 bad ones. It can’t be done. At the end of 30 weeks, or 40 weeks, or the end of the year, all of a sudden, a story will come that’s just wonderful.

That’s what happened to me. I started writing when I was 12, and I was 22 before I wrote my first decent short story. That’s a hell of a lot of writing—millions of words—because I was doing everything wrong to start. Of course, I was imitating. I had so many heroes that I wanted to be like. I liked H.G. Wells, I loved Jules Verne, I loved Conan Doyle—Sherlock Holmes, for God’s sake. Jeeves, I loved Wodehouse.

Well, you can’t be any of those things, can you? You may love them, but you can’t be those. I loved Edgar Rice Burroughs—Tarzan, John Carter, Warlord of Mars. Good Lord, wonderful stuff. The Wizard of Oz, L. Frank Baum. You know, I always dreamt someday I could grow up and write an Oz book, but it’s not to be—not to be.

So the main thing I want to start with tonight is to get you to write more short stories. Then you’ll be in training. You’ll learn to compact things. You’ll learn to look for ideas. The psychological thing here is that every week, you’ll be happy. At the end of a week, you will have done something. But in a novel, you don’t know where the hell you’re going. At the end of a week, you don’t feel all that good. At the end of a month—I’ve been through novels. I waited until I was 30 before I wrote my first novel, and that was Fahrenheit 451. It was worth waiting for.

But I was fearful of novels. I recognized the danger of spending a year on something that might not be very good. And your second novel might not be very good, or your third one. But in the meantime, you could write 52 or 104 short stories, and you’re learning your craft. That’s the important thing.

Read people like Roald Dahl. Get his books of short stories. Get the short stories of G. de Maupassant. Get John Cheever, who has done some very good short stories over and above his novels. Richard Matheson, in my own field.

Nigel, an author named Nigel Kneale—K-N-E-A-L-E. Nigel Kneale. Read his short stories. John Collier—one of the greatest short story writers of this century. And you know you’ve never heard his name. Try and look him up. He’s out of print right now. I’m trying to get him back in print next year. John Collier, English writer. He wrote brilliant short stories that deeply affected me when I was 22 years old.

The more quality short stories you read from the start of the century—Edith Wharton’s short stories, save her novels till later. There are many women writers who influenced me. Katherine Anne Porter, her novellas, all of the short stories of Wharton. The Curtain Is Green by Eudora Welty. Wonderful short stories.

The more of these you can take in—and stay away from most modern anthologies of short stories, because they’re slices of life. They don’t go anywhere. They don’t have any metaphor. Have you looked at The New Yorker recently? Have you tried to read one of those stories? Didn’t it put you to sleep immediately? They don’t know how to write short stories.

Go read Washington Irving. Go read the short stories of Melville. Go read Edgar Allan Poe again. Go read Nathaniel Hawthorne, a writer of fantasy in the science fiction field. Many collections of short stories, because they all deal with metaphor.

And the sooner you recognize the ability of seeing a metaphor, and knowing how to write the metaphor, and to make collections of them, the better off you’ll be. Then you’ll be ready for the novel.

Maybe some of you here tonight are automatically good novelists. So I’m not talking to you. You’re fortunate that you were born that way. But I discovered along the way I was a collector of metaphors.

Now, I don’t know how I can teach you to recognize the metaphor when you see it. But what you’ve got to do from this night forward is stuff your head with more different things from various fields. Hygienically speaking, I’ll give you a program to follow every night—a very simple program for the next thousand nights.

Before you go to bed every night, read one short story. That’ll take you 10 minutes, 15 minutes. Then read one poem a night from the vast history of poetry. Stay away from most modern poems—it’s crap. It’s not poetry. It’s not poetry. Lines that look like poems? Go ahead and do it, but you’ll go nowhere.

But read the great poets. Go back and read Shakespeare. Read Alexander Pope. Read Robert Frost. But one poem a night. One short story a night. One essay a night for the next 1,000 nights, and from various fields—archaeology, zoology, biology, all the great philosophers of time, comparing them. Read the essays of Aldous Huxley. Read Loren Eiseley, a great anthropologist.

Maybe you’ve never heard of him—Loren Eiseley, E-I-S-E-L-E-Y. He was head of the Department of Anthropology at the University of Pennsylvania. He became my friend 40 years ago. I read an essay of his in Harper’s, “The Fire Apes,” which was so brilliant I wrote him a fan letter.

I said, “Dear Dr. Eiseley, ‘The Fire Apes’ is the finest essay written in the last 20 years in any American magazine. Why don’t you write a book?” He wrote back and said, “Hey, that’s an idea. I think I will write a book.” And he wrote 17 books. But I was his papa, even though I was 15 years younger.

So reread all the books of Loren Eiseley. They’re crammed with pomegranate ideas. That’s why I want you to read essays in every field—on politics, analyzing literature. Pick your own.

But that means every night before you go to bed, you’re stuffing your head with one short story, one poem, and one essay. At the end of a thousand nights, Jesus God, you’ll be full of stuff, won’t you? You’ll be full of ideas and metaphors, along with your perceptions of life and your own personal experiences, which you put away—and what you see in your friends and relatives.

You want all these things to go in. And the more metaphors you can cram yourself with, they’ll bounce around inside your head and make new metaphors. That’s why you’re doing this. But you’ve got to be able to recognize one when you see one.

So hygienically speaking, you’ve got two things to do. If you feel you have to do a novel in spite of what I said, go do it. But in the meantime, write a hell of a lot of short stories. And then every night, do these three things with the short story, the poem, and the essay. And you’re well on your way to being more creative.

Conclusion

In considering Ray Bradbury’s writing advice, we have to understand the practical nature of what he is telling us as writers. If you want to become a better writer, you have to read more; and, his advice is asking you to focus on the classics when it comes to form and structure. If you understand the basics then you can play with the template, you can evolve your own writing, and you can certainly experiment with writing concepts.

Works Cited

“Ray Bradbury on the Dangers of Starting with a Novel.” The Narrative Art. June 13, 2016. Web, https://www.youtube.com/watch?v=IWBF4R6MW-k

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A Literacy Narrative: Inspiration, Challenges, and Achievements

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The years fall off a lot faster now, as I suppose they are meant to when you get older. There is gray in my beard, and I am more forgetful than I used to be. I also get tired a lot more often. I am in my mid-30s now, and I think about what I thought I would be doing at this point of my life when I was kid. Luckily, I’m not too far off from my younger imagination. At least, my writing journey has brought me to where I am now.

As a former reporter and current teacher, I’ve written a lot of content and work in my life. I plan to write a lot more. In this literacy narrative, or story about my writing journey, I hope to shed a little light on the struggle and triumphs of your average writer. As it relates to my experience, I think it is always important to remember that you have to start somewhere and becoming a better writer takes a lot of time.

The Earliest Years

As a kid, I remember sitting out under a tree at my parents’ house and pondering life as a writer. I wasn’t a writer then, but I was precocious, and I read a lot. A lot, a lot. I weirdly assumed that I would have a beard and longish hair, and I would be working at a community college teaching English, and I would look and feel like a writer. Well, self-fulfilling prophecies have a way of cropping up, and here I am.

And I am tooting my own horn, but I would be dishonest if I did not mention how difficult my journey was to get to where I’m at today.

As a child, I excelled in elementary and middle school. Class president. Highest GPA. Most Accelerated Reader points. You name it.

Then high school hit, and my innate intelligence caught up with me (it was actually because I went to school later than the rest of my class, so had one year of extra growth {Read Outliers by Malcolm Gladwell for more info if you were in the same boat}). I failed just about every class, and I remember my senior-year English teacher standing there as I read the final grades for the class, which she had posted on the wall. D- and I gave her a hug. It was that much of a struggle.

But the years of self-imposed high school struggle would soon turn into consequential adult struggle. My writing journey had just gotten started.

The Midway Point to Now

Cut to me venturing to Northern Michigan to work an internship at a newspaper. I had graduated high school (barely), and then spent two years working at a fast food restaurant. I knew what dead ends looked like, so I steered my life in a different direction, which was extremely difficult. Luckily, nepotism was on my side (so the rich don’t always benefit), but my brother was a news reporter Up North, and I was able to get an unpaid job delivering papers, cold-calling businesses, and writing the one-off article.

Everything was okay, but I was really bad at writing.

Imagine, I hadn’t really done the homework in high school, and I had no plans to go to college. If you are a flight risk, or you have problems with truancy, you fall behind. I was way behind. My brother did the best he could and walked me through AP style and the basic functions of the English language. Meanwhile, that precocious reader inside of me crept back up, luckily. I began to read again at a veracious pace. Throughout high school I read, but I did not study what I was reading. So I had to dig in deep. This is where I read Flannery O’Connor. And then I found Ray Bradbury. And I discovered read Robert E. Howard. This is where all the classics started coming to my attention. I couldn’t stop.

But I continued to struggle in my writing journey.

I moved back downstate and found myself lost in a flood of dead-end jobs. The reporting thing hadn’t panned out even though it taught me a valuable lesson. Little did I know, I just had weak confidence, because I would spend the better part of the next decade writing for newspapers and publishing short stories and articles. Not a huge amount, but a good amount. Regardless, somewhere along the way I got better, and then I had my bachelor’s degree, and then I had my master’s, and then I was back in school getting certified to teach English Language Arts.

Conclusion

What’s the takeaway?

Struggle. Struggle is the takeaway, and I still experience. My writing journey has only been struggle. I teach for a living. I am going to struggle. Sometimes there are students who don’t get it, and sometimes I don’t get it. It’s a huge wheel of self-doubt and imposter syndrome. Yet, I’ve found that throughout the years, no matter if a local pastor calls you and tells you that you are no good, no matter if a person from the career center rips your cover letter apart for no real reason, no matter if people tell you your writing sucks, you just have to struggle through.

For those of you who are at a comfortable place, I am happy for you, and for those of you who are still working at the grindstone hoping to be involved in writing in some way in the future, I am happy for you, too. You will get there, but you just have to get comfortable with the struggle. Even though it’s always there, you need to have the confidence to believe that the struggle will eventually go away and you will persevere.

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How to Effectively Use the Writing Process

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If you have ever taken a writing class, then you know there is great emphasis placed on the writing process. From the time we are in middle school until high school, we are asked to adhere to this strategy. But how do we effectively use the writing process? In this post I will explain practical ways in which we can use and refine the writing process for our own uses.

What is the writing process

The writing process is a series of stages a writer must go through in order to complete a writing assignment or project. For instance, if you have been given an essay by a professor, you probably have to focus on the writing process in order to complete the assignment. In this way, the stages guide you through your writing, so you know where to start and when you are finished.

The writing process is as follows:

  • Prewriting: This stage involves brainstorming and coming up with all of the ideas that will eventually make the final project. In this stage, you will write down consequential and inconsequential information. I refer to this stage as “writing trash to spin into gold.”
  • Drafting: In this stage, you actively write your brainstormed ideas down into a tentative structure. If it is an essay, you write your five-paragraph structure so you can simply get it out onto the page. For stories or novels, you will write down all of your ideas that you haven’t thrown out just to see what it looks like. This is probably the hardest stage along with revising.
  • Revising: In this stage, you take stock of what you have on the page. You look to see if all the ideas are there in your assignment. You check for structural problems; does the introduction explain the purpose of your writing? Does the conclusion wrap everything up? For stories and book, it is at this stage that you want to make sure your plot makes sense, and that your characters have motivations and act logically.
  • Editing: In this stage, you fix all of the mechanical issues. What this means is that you are looking for grammar problems. You are adjusting syntax to fit your style and rhythm. Also, you are checking diction to make sure you are not too wordy or too vague.
  • Publishing: In this stage, you have your final product. You want to format the essay, story, or book, so it is legible and easily digestible for an audience. As such, you will look at margins, font, text size, spacing, etc. This may be where you have the completed manuscript to send off to an editor. Remember, just because it is the publishing stage does not mean you are done. Writing is a recursive process, so if you send it off and get feedback, you can go back through and change your writing.
the writing process
The Writing Process | The Writing Post
How to effectively use the writing process

It is important to understand what the writing process is and what to do with it, but it is another thing to use it in a way that works.

The following are some practical, guiding principles to help you utilize the writing process effectively:

  • Prewriting: Write all of your ideas down using a graphic organizer. There are many examples out there, and they can help. Visualizing your ideas on a page is a quick way to understand what works and what does not work. If you need research-based proof, consider using brainstorming through multiple modalities.
  • Drafting: This stage is really tough. However, if you dispel some common writing myths, you may be able to see past your own anxieties about putting pen to paper. Never forget that in order to write, you must actually sit down and do the work. There is no perfect time, and there is no perfect place to write. You simply have to commit to writing.
  • Revising: There are a couple of quick ways in which to revise in a more effective manner. One is to read your draft out loud in a quiet place. Listen for inaccuracies, missing words, and jarring sections. There is no better editor than your own voice when it comes to what you’ve written. Additionally, you should use a word processor that has a built-in “Read Aloud” function. It works in the same way as reading your writing out loud.
  • Editing: When editing, you can definitely use the “Read Aloud” method to help catch errors, but there are many other ways to edit more effectively, too. One way is to wait until you feel as though your revision stage is complete, and then read over your text carefully, word by word. This takes a lot of time, but writing is a marathon, not a sprint. Chunk out your editing, so you are only doing a little here and there, rather than in one sitting. Additionally, you could consider using editing apps to help you along; however, if you want to be a good editor, you have to put in the work.
  • Publishing: The most immediate and practical way to get good at the publishing stage is to effectively memorize your genre conventions when it comes to manuscript formatting. If you are writing an essay, you can focus on MLA formatting (humanities) or APA (social sciences). For fiction and nonfiction, you can look at standard manuscript format, or the most conventional formatting options for submitting your work for publishing.
Blog, Writing Craft

How to create better pacing in narrative writing

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When we think of pacing, perhaps the first idea that comes to mind is how slowly or quickly a story moves. In other words, we are thinking about at what speed a story is moving through scenes and plot points. In this post, we are going to answer two questions. First, what is narrative writing? And, second, how do you create better pacing in narratives?

What is narrative writing?

Narrative writing is the act of writing fiction or nonfiction stories. In other words, it is creating imagined worlds and using elements of storytelling to tell a story. The elements one has to consider when writing include characters, plot, setting, conflict, and theme (and more). Therefore, narrative writing is an attempt at entertaining a reader through an engaging story that lives and breathes.

As some sources state, in approaching this style of writing, “one might think of it as telling a story.” These types of writings often center on “anecdotal, experiential, and personal” reflections (Purdue).

What is pacing?

Pacing is typically a reference to the speed at which a story is conveyed to a reader. It is important for holding the interest of a reader. The pacing differs between novels and short stories for a reason. An author typically doesn’t have to share as many details when writing a short story. However, they need to share many more details when writing a novel.

Writer’s Digest states that pacing is “a tool that controls the speed and rhythm at which a story is told and the readers are pulled through the events” (Carpenter). Likewise, the author states pacing is a matter of structure and word choice (syntax and diction). Some elements of pacing include actions, cliffhangers, dialogue, and word choice.

How to create better pacing in narrative writing

Let’s focus on the elements of pacing and see how they can help us along:

Actions

Actions are the events that happen in a story. They often involve the characters interactions with themselves and with each other. As an example, think about all of the action in Robert Louis Stevenson’s Treasure Island, from the fight at the palisade to the death of Israel Hands.
Tips: Some tips to consider include whether you are using fast-paced action throughout the story–fights, chases, sudden events–or you are using slower-paced action throughout the story–reflecting, walks, dialogue, contemplation.

Cliffhangers

Cliffhangers: Cliffhangers are so crucial for most narrative writing, and are considered a plot device. They are a moment at a particular point in a story, typically moments of suspense, which leaves the reader wanting more. Cliffhangers create tension, especially at the end of chapters and parts to books. For instance, any short story collection, from Stephen King’s Nightshift to Hemingway’s In Our Time, often utilize page breaks to hint at more to come. These act as cliffhangers.
Tips: Go to your favorite book and read the end of each chapter or part. You will get a sense of what the author is doing to make you want to read more.

Dialogue

Dialogue: Dialogue is any action of conversation between two or more people. It helps us understand characters’ thoughts, feelings, emotions, and their own relationships. Additionally, dialogue should move the plot forward. Consider Rum Punch by Elmore Leonard. This novel uses short snappy dialogue to convey naturalistic speech. Similarly, in Flannery O’Connor’s “A Good Man is Hard to Find,” the author utilizes dialogue as a means of argumentation.
Tips: As a tip, consider how quickly your dialogue moves. Is is short and sweet? Or is it longer speech-like diatribes? You can use many types of dialogue in a book as well, as long as you feel that it moves the plot.

Word Choice

Word Choice: Word choice is difficult to talk about because it is a very personal choice for writers to consider. It often refers to the specific vocabulary (diction) and language an author uses in their writing. Word choice can be concise, straightforward, and in short sentences, or it can be far more descriptive and elaborate. For instance, Edgar Allan Poe describes his scenes and settings with lengthy passages. Meanwhile, other authors, such as Kurt Vonnegut, are more interested in the beats happening in the story so move you a long with sparse detail.
Tips: As a tip, consider breaking down what each section of your story and decided what it is trying to say. If you feel as though it could benefit from shorter sentences and word, then you should go in that direction.

Conclusion

So, how do we create better pacing in narrative writing? We have to understand just at what speed your story moves based upon the decisions you make as a writer. The actions of your characters, the cliffhangers you introduce, the dialogue you use, and the word choice you implement all effect how quickly or slowly your story builds and releases. Understanding pacing can help you shape fun, engaging, and exciting stories that will enthrall your readers.

Works Cited

“Narrative Essays.” Purdue University. Web. https://owl.purdue.edu/owl/general_writing/academic_writing/essay_writing/narrative_essays.html

Carpenter, Courtney. “7 Tools for Pacing a Novel & Keeping Your Story Moving at the Right Place.” Writer’s Digest. April 24, 2012. Web.

Blog, Writing Craft

How to Use Imagery and Figurative Language in Writing

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In this post, we are going to discuss imagery and figurative language and how to use it in your own writing. The point of this post is to create a dynamic approach to describing characters, scenery, and what have you in order to draw your readers into your writing.

Imagery, figurative language, and senses in writing

Blink, and you’ll miss it. The images flash in your mind, and you can see the stars, a forest, or a sunset on a beautiful evening. The sounds come alive too. You can hear the crickets or the droplets of water falling onto a steel bucket near the shed after a recent rain. The smells of fresh rain and leaves waft through your nose, and you can feel the autumn chill on your skin. It’s time to put on a warm, wool sweater.

Imagery is at its best in writing, especially when executed perfectly. Today on the blog, we are going to define imagery, explore how to use it, and understand why it is an important component of writing.

Defining Imagery

Imagery is a blend of various elements, encompassing the types of language we employ and how we employ it. Some sources define imagery as language designed to be vivid and to engage a reader’s senses. According to Del Mar College, “In literature, imagery refers to words that trigger the reader to recall images or mental pictures, engaging one of the five senses… Imagery is one of the most powerful literary techniques because it connects with the reader’s personal experiences or memories.” Therefore, imagery can be described as the “mental images” conjured in a reader’s mind while they read.

Using Imagery in Writing

As writers, we often use language that appeals to sight, hearing, smell, touch, or taste to make an event or scene more tangible to the reader. This is referred to as using sensory language. In the introduction, I attempted to describe a scene that is familiar to most people without overdoing it. We can see, hear, and smell that scene with minimal effort.

In this approach, we must “show” rather than “tell,” which means we should describe an experience instead of simply narrating it. For example:

  • He walked into a room in mid-December and grabbed a book off the old shelf before he left.
Versus
  • The creaky old door greeted him as he entered the acrid-smelling room. The books on the shelf had damaged bindings and moth-eaten exteriors. He noticed one book had no binding at all, and a shiver ran up his spine as the cold seemed to creep in. He hurriedly left the room, slamming the ancient door shut behind him in a plume of dust.

Another effective approach to employing imagery is by using figurative language. Similes and metaphors create vivid comparisons:

Metaphor: The trees danced in the wind.

Simile: The trees danced like the wind was their music.

In both cases, a clear picture is painted; the trees are moving in the wind. Additionally, employing onomatopoeia and hyperbole can add sound effects and exaggeration to make our writing more engaging.

Conclusion

In conclusion, when writing, we should be mindful of the mental images we are creating for our audience. Readers appreciate descriptions, but not just any descriptions—they should be accurate and purposeful. Imagery should bring us closer to conveying our message, not further away. If you feel that your descriptions are not effectively conveying your message or if they seem dull, consider implementing imagery techniques such as similes, metaphors, or sensory descriptions.

Other resources

The following resources are further links to descriptive writing in context. Each post will detail a particular facet of writing descriptively.

  1. Using Exciting Language in Adventure Stories
  2. Penning Excellent Ghost Stories
  3. How to Write Action and Engage Readers
  4. Developing a Distinctive Writer’s Voice
  5. Atmosphere in Writing
Works Cited

“Poetic Imagery.” Britannica. Web. https://www.britannica.com/art/poetic-imagery

Blog, Folklore, Writing Craft

How to Use Folkloric Language to Convey Complex Ideas

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There is a wealth of advice on how to write complex thoughts and feelings. Though technique and general advice typically muddle what’s not complex to understand. In other words, one simple way to write complex ideas is to do just that–write simply. Also, using a lens might help; in this case, folklore. Thus, using folkloric language to convey complex ideas is one way to approach writing.

Defining Folkloric Language

Folkloric language, or folkloric prose for that matter, is simple syntax using muscular sentences that say precisely what they mean.

“Folktales for kids share a number of common characteristics,” states the website August House. “Folktales follow straight forward story lines with traditional, easy to follow plotlines.”

In other words, generations before us have passed down the oral tradition of folklore. Therefore, the language has to be simple enough to remember and universally understood. With that in mind, the stories have to have maximum impact while saying more with less.

Examples from Folklore

“There once was a fisherman and his wife who lived together in a hovel by the seashore, and fisherman went out every day with his hook and line to catch fish, and he angled and angled.”

So starts the folkloric tale of “the “The Fisherman and His Wife” by The Brothers Grimm. In it, a fisherman catches an enchanted fish and the man agrees to release it if only to acquiesce to his wife’s demands–that the enchanted fish grant wishes in return for its freedom. Of course, the wife’s wishes become too great. This is due to her greedy ambition. So they are without wishes and are whisked back to their ordinary life.

There is a lot to unpack here, but while there are layers of thematic understanding in this particular story, it still conveys complex ideas using simple language. This is precisely the point of today’s post, as folkloric language has a very interesting appeal in that, while childlike, it has the ability to convey a great deal of information through minimal language.

Simple Language in Scary Stories to Tell in the Dark

Example

In one of my favorite folklore collections, Scary Stories to Tell in the Dark, the author Alvin Schwartz focuses on a very simple prose in order to tell each tale collected within the volume. In “The Thing,” which appears in the collection, two friends–Ted Martin and Sam Miller–are sitting on a fence one evening when they spot something in the field across the street.

“It looked like a man, but in the dark, it was hard to tell for sure. As quickly as it had appeared, it was gone.”

An awfully scary occurrence if you ask me, but one that is simply put. There was something, and then it was gone.

“But soon it appeared again. It walked halfway across the road, then turned around and returned to the field … Then it came for a third time and started toward them.”

Ted and Sam beat the pavement but stop, believing themselves to be acting silly. Sam heads back to get a better look but finds the creature so horrific that they once again run in terror. A year later, Ted becomes ill and Sam stays with him every night. “The night Ted died, he looked just like the frightening thing that they had encountered a year before.”

Explanation

It’s a scary story, but one that fits the premise of this post. In very simple, folkloric language, Schwartz conveys not just a spooky story about a monster chasing a few boys down the road, but one of death and the inability to escape the Grim Reaper’s pursuit.

On the surface level, Ted and Sam were running from a monster, and thus “The Thing” is a simple monster story. As far as the depth of the story, there is quite a bit more. The story speaks of the pain of losing a friend to horrible illness, and the omens we see in life that can inform us of the frailty of life around us at all times. The Thing, in this instance, is an extended metaphor for illness, cancer, and sickness, but Alvin Schwartz doesn’t need to tell us that; in fact, he has to do very little work at all to convey this information.

Conclusion

Using folkloric language to convey complex ideas is a good idea for beginning writer. However, even as a journeyman or master writer, you can always go back and refine your skills with simplicity. Nonetheless, folklore is a great starting point in order to practice literary analysis. For instance, if you want to sharpen your ability to parse metaphor, reading folklore can treat you to great stories that often have deeper meanings and lessons.

Blog, Writing Craft

How to Enrich Characters and Plot with Conflict

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Conflicts in stories can seem pretty straight forward. There is a bad guy (or event) and the main character must confront it and succeed. Yet, conflicts are more nuanced than even that, with characters shifting from static to dynamic. Additionally, depending on the genre, you might see more conflict in specific stories, such as action and adventure. As such, conflict is both important and complex to plots and characterization. Today on the blog, I would like to discuss two types of conflict that enrich characters and stories: internal and external conflict.

What is conflict?

Conflict is the convergence of two opposing forces. It is when the good guy meets the bad guy. When the hero confronts the bad society. When the person gets lost in the woods and dominates or gets dominated by nature. Conflict is also the way a story moves along. Without conflict, you have no story.

In addition, consider the Freytag model of plot structure. You have five or six basic components: Exposition, Initial Incident (conflict), Rising Action, Climax, Falling Action, and Resolution. Conflict here comes after we learn about the characters, the setting, and the goings on of their surroundings. It pushes the story into Rising Action and acts as a necessary thrust to move the narrative along.

What is internal conflict?
man suffering depressed spirits ('hypochondria'), internal conflict

Internal conflict is the conflict that happens inside of you or your character in a story. It is the unseen conflict; the conflict inside the mind. It is the mental complexity of conflict. Are you grappling with a secret that you can’t share? Are you dreaming of a better life? Do you not like yourself enough to go find new friends? All of these are internal conflicts that may affect a character.

What is external conflict?
drunken brawl tavern men shouting, external conflict

External conflict is all the stuff we see literally. Is a big bad evil guy destroying the world and our heroes must stop him? Or, is an invisible threat harming the people of Earth? Is there a stalker who just won’t leave the protagonist alone? These are all examples of external conflict.

How to use this in your own writing

First, identify your characters–which ones are dynamic or changing–and think about what is going on mentally with them. Are they under stress? Are they closed off from the world? Do they have depression? Then engage with this line of thinking in order to more richly define your characters wants and needs. Second, think about your external conflicts. Are you identifying them with clarity. If you were a reader, would you know what the overt problem is in the story, or is it unclear?

Second, make sure both of these types of conflicts are illustrated with reality and clarity, so that the reader can both engage and believe in your writing. The more details you can add in your own style, the more likely a reader will stay with you and your writing.

Conclusion

In the end, understanding the difference between internal and external conflict can help you better strategize when writing a story. It can help you better understand the stories presented to you in books and film. Likewise, using conflict to enrich characters allows the reader to understand a character’s motivation. Additionally, knowing when and where to use internal and external conflicts can assist you in creating interesting, fleshed-out characters who have depth.

As Perdue states: “The conflict (in a story) can be internal: a character’s battle with depression. Or the problem can be external: the protagonist dealing with her enemy, the antagonist.” Additionally, Purdue states that a conflict can be a bit of both, with characters having to engage with themselves before conquering their enemy.

Works Cited

“Fiction Writing Basics.” Purdue University. Web. https://owl.purdue.edu/owl/subject_specific_writing/creative_writing/fiction_writing_basics/fiction_writing_basics_2.html

Blog, Writing Craft

Embracing Threshold Concepts for Growth

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When I was in graduate school for writing, there was a great deal of talk about “threshold concepts” in writing. Mainly, these conversations were put forth to implore teachers to reflect on their practices and to remember what it was like to be a first-year writing student; never you mind that many teachers and writers struggle with some of these concepts long into adulthood and possibly their entire lives. This includes struggling with the writing process. For this post, we are going to look at embracing threshold concepts and how to think about them as they relate to our writing lives.

What is a threshold concept

A threshold concept is “a concept that, once understood, changes the way that a person thinks about a topic” (Dunick). That is to say, threshold concepts challenge us in ways there are instrumental to our growth as writers. Key elements of threshold concepts include their difficulty, multi-disciplinary, transformative power, and irreversibility. For further reading, in “Enhancing Teaching-Learning Environments in Undergraduate Courses” by J. Meyer and R. Land, both authors discuss these notions.

Here are some examples of these types of concepts:

  • Writing is a process: One doesn’t simply get writing done and call it a day. Writing takes time and there are recursive steps to consider as you write. That is a long way to say that you must start at the beginning and move forward, returning to any of the steps along the way–prewriting, drafting, revising, editing, and publishing.
  • Writing is about prior experiences: Your experiences matter and where you come from matters. Those with affluent backgrounds will have different experiences with writing and literacy than somebody who grew up lower on the socioeconomic ladder.
  • Writing involves metacognition: Metacognition is thinking about the way you think. It’s crucial when it comes to problem solving and making the same successes over again. As it relates to writing, it is the way in which we write and what choices we make that are most effective.
  • Writing is done collaboratively: The lone writer in a room under a lamplight is but a daydream. The reality is that writing involves other people that include writers, editors, and the people reading your text.
embracing threshold concepts chart
Threshold Concepts | The Writing Post
How to overcome threshold concepts

To overcome threshold concepts, I believe metacognition is key. You have to think about your writing and how you write. If something isn’t working then there is a problem. Therefore, you must change the way in which you write.

In order to tackle these challenges, you must remember that a draft is only a starting point. There is always more work to be done. You aren’t done until you are done, and revision is a large part of this (remember the recursive process). You also have to reflect on the strategies that are most effective in your writing without reinventing the wheel (for starters anyway). Lastly, by participating in peer review sessions for feedback, or by listening to criticisms with open ears, you can gain a collaborative understanding of writing.

Conclusion

Embracing threshold concepts is a difficult problem for the average writer. There is a process to consider, metacognition to master, and collaboration to tackle. I still struggle with some of these concepts, too, and have to remind myself that writing is a daunting task–but a task that I am very much committed to doing on a daily basis. Remember, if it ever becomes too easy, you are probably doing it wrong.

Works Cited

“Understanding Threshold Concepts.” Miami University. Web. https://miamioh.edu/howe-center/hwac/teaching-support/resources-for-teaching-writing/understanding-threshold-concepts.html

“Threshold Concepts.” Carleton College. Web. https://www.carleton.edu/writing/resources-for-faculty/threshold-concepts/

Blog, Writing Craft

Defining Anaphora through Emotion, Emphasis, and Rhythm

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Repetition has a lot of power if used correctly. Especially repetition in speech. In rhetorical studies, using language to persuade and to writing compelling arguments is essential. Similarly, there are many strategies in rhetoric, from anacoluthon to polemics. In this post, we will be defining anaphora, and figure out what it is and how to use it in writing.

What is anaphora

In defining anaphora, we can view it as a “rhetorical device in which a word or expression is repeated at the beginning of a number of sentences, clauses, or phrases” (Merriam-Webster). Simply put, anaphora is the usage of a word or collection of words at the beginning of a sentence in order to emphasize a section or make a point. As such, anaphora’s effectiveness becomes evident when thinking of repetition in poetry and speeches. It forces the audience to hone in on your statement or the point you are trying to make.

Examples

Here are a couple of examples from the same source we can compare:

  • Winston Churchill to the House of Commons on June 4th, 1940: “We shall fight in France, we shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air…” (Merriam Webster).
  • Abraham Lincoln: “we cannot dedicate–we cannot consecrate–we cannot hallow–this ground” (Merriam-Webster).

In these examples, anaphora is only a pair of words. Churchill’s quote utilizes “we shall” as a repetitive phrase while Lincoln uses “we cannot” for repetition.

Additionally:

  • A Tale of Two Cities by Charles Dickens: “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness…”
a few examples of anaphora
Anaphora by The Writing Post
How to use it in your own writing

As posited here, there are three main purposes of anaphora:

  • When writing poetry or fiction–or perhaps a speech–you can use anaphora to create emotion in your writing by repeating a powerful phrase (I have a dream). Consequently, your use of anaphora will sway your readers to feel a certain way.
  • You can use it emphatically to bring attention to oneself (We came, we saw, we conquered). Mainly, you can use anaphora in this way to highlight a key idea or theme. It makes whatever you’re writing more memorable and impactful.
  • You can also use it repetitively to create rhythm in your writing. Poems benefit from repeated phrases. For example, “Acquainted with the Night” by Robert Frost wherein he states: “I have been one acquainted with the night. / I have walked out in rain–and back in rain. / I have outwalked the furthest city light.” As seen in the poem, Frost uses “I have” to create a lyrical rhythm to guide the reader.

Finally, remember to use anaphora sparingly. It is effective when it is short and impactful.

Conclusion

Thus, defining anaphora involves repetition, and you can use it for several key purposes: to evoke emotion, to emphasize important points, and to add lyrical rhythm to your writing. When used correctly, anaphora draws readers to your work, creating a powerful impact—whether emotional, emphatic, or rhythmic.

Blog, Writing Craft

How to Write Like Robert Louis Stevenson

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Robert Louis Stevenson is a celebrated writer. His focus on action and suspense created many compelling dramas. These include Treasure Island, The Strange Case of Dr. Jekyll and Mr. Hyde, The Black Arrow, and Kidnapped. He is also known for his complex imagination and a distinctive writing style. In this post, we will analyze Stevenson’s writing style and contribution to fiction by analyzing how to write like Robert Louis Stevenson.

Settings and Characters

One notable aspect of Stevenson’s writing style is his ability to create richly detailed settings. These settings are often a larger part of the story, or reflect the characters in some way. For instance, the pirates flourish on the high seas in Treasure Island. And, in The Strange Case of Dr. Jekyll and Mr. Hyde, the characters reflect that fog-filled streets of a seedier side of Victorian England. Stevenson’s unique descriptive style bring these environs to life and give readers a window into his characters’ lives.

Stevenson’s characters are equally compelling, often embodying complex moral dilemmas and inner conflicts. From the enigmatic Dr. Jekyll and his sinister alter ego to the cunning Long John Silver, Stevenson’s characters are not simply archetypes but fully realized individuals with their own motivations and flaws. Through his characters, Stevenson explores themes of identity, morality, and the duality of human nature, inviting readers to ponder the depths of the human psyche.

Syntax and Diction

Stevenson has an interesting way of constructing sentences and choosing his words. For instance, “Stevenson’s sentence structure often reflects the pace and mood of his narratives.” As it is exemplified, Stevenson uses action to drive each sentence when their are exciting scenes. During Jim Hawkins’ fight with Israel Hands, the action is intense. Stevenson writes that Israel “threw himself forward,” and Jim “leapt sideways towards the bows.” Furthermore, he writes: “As I did so, I let go of the tiller, which sprang sharp to leeward, and I think this saved my life, for it struck Hands across the chest and stopped him, for the moment, dead.”

Meanwhile, during moments of reflection, Stevenson is capable of writing longer, more weighty ideas. At the end of Treasure Island, Jim states, “The bar silver and the arms still lie, for all that I know, where Flint buried them; and certainly they shall lie there for me. Oxen and wain-ropes would not bring me back again to that accursed island; and the worst dreams that ever I have are when I hear the surf booming about its coasts or start upright in bed with the sharp voice of Captain Flint still ringing in my ears: ‘Pieces of eight! Pieces of eight!'” (Stevenson). Here, Stevenson bounces around on ideas, but focuses on Jim’s psychological well-being.

Putting this Into Play

Stevenson was a committed writer and wrote a lot of different kinds of writings, from essays to short stories. He was remarkably efficient. In order to write in a similar style, one should consider taking into account what they are writing. If you writing an action scene, speed up the momentum and write quickly. Using polysyndeton, for instance, can create a sort of rhythmic urgency in your writing. Such a method moves your action along while keeping details straight ahead.

Another method to consider is building your characters up through characterization and then trimming the pacing to your liking. This particular method asks you to write convincing characters so readers are enthralled at their actions. If you have a believable character and short, robust sentences, punctuated with longer sentences and polysyndeton, then you have a good recipe for success. Stevenson’s action is enthralling because you care about Jim Hawkins and Long John Silver. They are both a well-rounded protagonist and antagonist. Therefore, you root for them (or curse them) and follow every movement with astuteness.

Conclusion

Overall, Stevenson’s writing style is characterized by its electric energy and varied storytelling. Thus, in order to write like Robert Louis Stevenson, you need to focus on the fundamentals: good characters and quick action. Without a doubt, his protean ability to change genres bolstered his appeal. As some sources state that he was, “established among the more discerning as a writer of originality and power … whose novels are either brilliant adventure stories … or original and impressive presentations of human action …” (Britannica). In other words, Stevenson left a huge mark on the literary world with his stories and essays, and will be remembered fondly as writer of excellent fiction.

Blog, Writing Craft

Mastering Language for Engaging Adventure Stories

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Adventure stories are an escape into worlds of excitement, danger, and action. And, there are many, many adventure stories out there to sink your teeth into. To pull readers into your story, the use of exciting language is extremely important. Remember, language pulls a reader in and keeps them reading. While story ideas are great and can keep some readers reading, a good command of language can make a reader a real fan of your work. In today’s post, we’ll explore some effective techniques in mastering language for engaging adventure stories.

Tools to Succeed

1. Vivid Descriptions

One of the most powerful tools in crafting exciting language is the use of vivid descriptions. Essentially, you are attempting to transport your readers into the heart of the action by painting a detailed picture of the surroundings. For example, instead of stating, “The jungle was dense,” try for a more vivid description like, “The lush, emerald foliage enveloped the explorers, each step accompanied by the symphony of rustling leaves and unseen creatures.”

2. Using Verbs

By correctly using verbs (or accurately), you have the ability to propel the story forward. Instead of relying on mundane actions, choose verbs that speak to energy and movement. For instance, replace “walked” with “charged,” “crept” with “slithered,” as these are more specific and are less boring choices. Of course, in other contexts, the adverse is true; regardless, keep in mind that word choice (and verb choice) is essential in creating intense action.


3. Effective Dialogue

Good dialogue is a cornerstone of any adventure story. However, that’s not always the case in many pulp-adventure stories. So, you really want to stand out. Make your characters’ conversations pulse with energy by using real language. Inject passion, urgency, and personality into their speech. Rather than using the predictable, let your characters speak with a unique flair that mirrors the intensity of the adventure. I once had a writing teacher who told me to keep a notepad with me to write down real conversations that people have to get an idea of how language works. While I don’t carry a notepad, I still try to listen to people’s articulation and capture what I can to use in stories.

4. Sensory Imagery

To create a truly immersive adventure, engage the senses. Describe the sights, sounds, smells, tastes, and textures of the environment, whether it’s the acrid scent of burning embers or the sweet taste of victory. Sensory language gives the reader the impression that they are in fact exactly where you are describing. This can be achieved by close attention to detail.


5. Syntax

The rhythm of your sentences can mirror the excitement of your adventure. Experiment with varied sentence structures to create a traditional or nontraditional flow in your story. If you are familiar with poetry, varying line length can help us emphasize certain words or thoughts. This works the same way in short-story writing. By varying lines–both long and short–we can emphasize certain aspects of our stories. Short, punchy sentences can convey urgency, while longer, descriptive ones can build suspense and anticipation.

Conclusion

Crafting an adventure story that resonates with readers requires a potency in craft. That is to say, when it comes to mastering language for engaging adventure stories, you must be very clear and very specific. Yet, it’s also okay to tell yourself that writing is difficult, and you won’t necessarily get what you are after the first time around. Often, it takes multiple passes to find the right words to convey the right meaning. Moreover, utilizing other conventions, such as pacing and polysyndeton can further immerse the reader into your narrative. Nevertheless, by utilizing descriptions, verbs, dialogue, sensory language, and varied sentence structures, you can bring your story up from the depths of boring darkness and into the light of excitement and adventure!