Once Upon a Time

Once upon a time is a free writing path to crank-up your creative flow. It's one more method of keeping writing ideas available while writer's block is trashing other people's muses. It prepares you to become comfortable and ready to create. How can the four words help you?  

1. Write about a problem(s).
2. Plant lines of poetry.
3. Select any situation or news story.

A suggestion is to pick a problem that's nagging at you. Is there an issue bothering you? Often, writing offers clarity. I, for example, used the four words when writing about a situation at a previous job. I thought they were random scribbling, venting, but they spun into more.

1. It was therapeutic.
2. The sharing of it helped others.
3. My novel was a result.

You may have experienced a problem that could help others too. First, you must come to terms with it. There's no better way than writing it down. Set it aside. Re-read it.

1. Flush-out your feelings about it.
2. It could take awhile, depends on you.
3. Write an article, book or poem.

Once upon a time has no limits on where to go with it. Custom fit it to your circumstances. It's all right to laugh or cry at your words It's the process' way of bringing you through the issue(s), from my experiences. An issue can become too difficult for the moment. Stop. Return the next day. Start slowly.

1. Once upon a time, I lost a job.
2. ...my family's secret cake recipe disappeared.
3...a pet rang the door-bell.

It makes no difference what words pin-points your journey. There's no rush to finish. Remember, it's a healing process too. Put aside your "critic voice." Walk through the process at your own pace. Some days will be easier than others.

1. Write down a problem or issue.
2. Work on it until you can't.
3. Come-back tomorrow.

I've written down an issue or problem and was surprised at my reaction. I took my time looking it over. "I said that?" I asked out-loud. An appreciation for the other person's point-of-view dawned after reading how circumstances happened.

1. Everyone makes mistakes.
2. Own them.
3. Do better.

The writing path of once upon a time can be applied to fiction, non-fiction and poems. Use the process in your life where it's most needed. It spins into your starting point. Also, it has a place across all segments of life.

1. It helps with everyday problems and issues.
2. Poems are carved too.
3. Novels arrive through the process.

Effective Dialogue Use in Fiction

Effective dialogue use in fiction inspires laughter, shock, sadness and hope. It tips in to uncover surprises while nudging curiosity. Dialogue is a writer's tool to get familiar and comfortable with. There's no limit to where you can take the tool.

1. Effective dialogue rises out of practice.

2. Listen to people's speech patterns.

3. Dialogue well written can push you to the next level.

Conversations in fiction mimic actual speech. Otherwise, it'd be boring and too long. Most people have functions and activities in their lives. They'll cut-back on what's not necessary. Fiction mirrors human behavior. The following is an observed conversation at Walmart. 

"Mack, is that you?" A young man in a business suit stared at an acquaintance. "I didn't know you shopped."

"Yeah, just picking up what my wife forgot."

I'm here to get food, fridge's empty."

The two laughed as Mack paid for his groceries. 

Dialogue is a spin-off of conversation. Speech patterns tend to differ when you go to a specific city, town or country. Select a character's pattern of speech as it pertains to your fiction. Look at the above Walmart conversation in my fiction.

"Bill?" Tony furrowed his eye-brows. "You shop?"

"Not if I don't have to, wife forgot some stuff." He shifted his weight. "She had to work, so." Bill pointed at his jars of olives, instant coffee and grape jelly.

"My fridge's empty." Tony looked at his cart of frozen pizza, chips and dips.

"Got a question for you, wait outside." Bill grabbed his bag and headed to the door.

"Know nothin' 'bout who ya're wife...

Each writer stirs words together as he/she feels is suitable for the story-line. The key is to zero in on speech patterns that tug at your creative flow. Study them. Practice writing effective dialogue use in fiction. Show-case your twist on people, places and the sky. Ask questions. Don't stop asking questions until the character(s) you're creating resembles "that person" or a person. Questions to begin asking follows.

1. How will your character wear an accent?

2. What words are his/her "own?"

3. Who will say, ya instead of you?

Schedule time to observe people. Think about effective dialogue use in fiction when at the mall, making a call or enjoying Fall. Try looking at everyday activities from a new perspective. Don't forget to turn writing ideas upside down.

1. Jot down over-heard conversations at the mall. 

2. A writing idea can dawn during a call.

3. Grab Fall inspirations for later.

One more idea on dialogue is about family time. They're treasure chests of possibilities. People from various generations have unique accents and speech patterns. Mix-and-match accents are ideas to consider.

1. Write down observations.

2. Be careful not to hurt anyone on purpose.

3. Don't be afraid to experiment.

How Are Flashbacks Used in Fiction?

Flashbacks are used in fiction to explain why, for example, a character dislikes antique typewriters. The mention or tap of a key digs-up a different personality for him/her. The mystery of why he/she can't remember what or how it happens unfolds the flashback. Look-over the following.

1. Sudden change of place or time.

2. The character goes to a different place from the original.

3. He or she is returned to the first place.

A flashback reminds a character of something, bad or good, from the past. The sight of an antique typewriter, for this character, swirls around memories of murder. The flashback is the means for readers to understand the character's plight.

1. A flashback is stuffed with lots of information. 

2. The tapping of keys plops him or her back to the present.

3. The character's past is exposed.

Flashbacks keeps fiction interesting when mixed well. It should be long enough to provide necessary information, but not bore readers. What do bored readers do? Move on to next author. 

1. Be clear on what you want to share.

2. An outline may help.

3. Try more than one possible scene flashback before deciding.

A tale begins with a dramatic scene. It explodes in the middle of a problem. It'll grab the reader's attention. Still, they'll want to know what triggered the boil-over. What derailed the relationship, friendship? Circumstances? Characters responsible?

1. A flashback is needed.

2. It uncovers facts.

3. Also, it leads to where the story opens.

Sometimes, a sentence is all it takes to stir-awake the flashback. The situation may require a paragraph or two. The story's pace must not be slowed by a flashback. How is a flashback set into motion? 

1. The sound of music playing.

2. A fall or hand-shake.

3. A character's eyes recognizing an antique typewriter.

A flashback is a transition from the current place to a different one, and a return to the original place. It isn't a long process. The flashback is packed full of information to allow readers to understand a character. 

1. Outline the flashback.

2. Test more than one flashback for "the" scene.

3. The flashback's job is to discover and inform.

The Narrator

The narrator is an important decision for a writer. Make the choice for narrator prior to a single syllable being written. Why? The story is told from the point-of-view character. He/she opens the door according to an one sided view, and that view is from the character telling the story. The stance covered in your work of fiction depends on which character is narrating.

It's paramount to complete a profile for characters before you start writing. You can always go back and nip and tuck information. A character's story can't be told well if you don't know him/her. The narrator's voice arrives with his/her unique experiences, attitude and culture. The educational level swirls into his/her speech pattern. These details and any others you'd like to add constitutes a character's profile. 

When a character slides into the narrator's spot, he/she is engaging. The character stirs-up the emotions of sadness, anger, happiness or fear in readers. It leads to a connection. It's why a person cheers, yells, frowns or poo-poos a character. The ability of a character to spark some emotion is why readers look for more writing projects from the writer.

I'm referring to the first person narrator. The character is limited to what he/she knows, finds out or witnesses. The story unfolds through his/her eyes. The reader identifies, cares, hates, the point-of-view character. The writer sprinkles in the right ingredients for the fit with his/her vision.

The first person, I, narrator is a mixture. The character is formed from a writer's experiences. Each writer is different with many and varied experiences. Writers are influenced by what they see, feel, hear and read. There's no limit to where writers gather writing ideas.

What if the narrator is a liar and the protagonist? The story is usually written around the protagonist. It's the writer's job to expose the character. How? Let the character's lies be uncovered. The character is left with no choice but the truth. Readers will get suspicious of the "tall tales." They will reason if the character is fibbing here, he/she could be lying about A and B. After all, they're just taking his word. Hmm. Some will watch the character more carefully. They'll pay close attention to what and how the character speaks. Readers will be looking for inconsistencies. Some other people will go along with the character to use him/her for their own purposes.

In the end, a narrator is selected based on which character best fit and the vision a writer has.

The Role of Conflict in Fiction

The role of conflict in fiction is to hold the reader's attention when two opposing forces clash or disagree in their created "World". Conflict is a major element in the presentation of interesting fiction. Conflict is a quarrel or struggle, according to the dictionary. The same concept applies to fiction.

• When two characters have differing opinions conflict arises.
• It spirals out of control each time the characters cross paths.
• There isn't an easy answer.

Simple Conflicts Can Be Spun into Fiction

A person's alarm clock didn't ring-out which causes conflict in everyday life. The idea of being late for work or school can elevate stress levels, push you to rush while driving. You are focused on getting to a specific place and not on driving which leads to accidents. A character in that situation may react as follows.

• A character may speed up to avoid another reckless character.
• Take down a license plate number and try to locate the driver.
• Start a possible revenge campaign.

Creating Character Conflicts

The role of conflict in fiction is to make the conflict more interesting than in real life. Sure, pluck some ideas from real life but stir-in chaos too for successful fiction. Let's take a look at my character Reeva. Reeva met Bill indirectly when the two stood in a grocery store line listening a customer's love-life. The characters weren't familiar with each other.

• Reeva shook her head but looked forward.
• Bill coughed and muttered a few words.
• Reeva didn't acknowledge him.

 A Character's Ego

The idea of Reeva not turning around to remark about Bill's words or say anything was un-heard of to him. Everyone liked Bill who cheated and lied his way into lives. Besides, he wasn't above doing anything to get his way. In that moment, Bill decided to stalk Reeva.  

• Bill followed Reeva home from the store.
• The smile on his face was from ear to ear.
• Bill started going to Reeva's apartment building just to stare.

Conflict  

The stalking of Reeva has Bill thinking that he has a relationship with her. He has gone beyond staring at her. He knows what time she gets up for work as well as when she returns home. Bill has gone into Reeva's apartment to touch her belongings.

• Reeva noticed clothes in her closet were re-arranged. 
• Dishes left in the sink washed.
• She'd awaken to a turned off alarm clock.

 Reeva's Plight

Reeva has told family and friends about what has been happening. She was advised to change her door locks, move and/or call the police. She doubts the police will believe her, and she has no proof. Reeva isn't sleeping well. On this particular night, a noise pulls her to full consciousness.

• Reeva jumps to her feet.
• She grabs one of the 5" heels.
• She moves toward where the noise originated. 

The Noise

Bill had been sneaking into Reeva's apartment for about 2 months without being caught. He has watched her sleep, even stolen through her personal belongings. Still, the 30-year-old couldn't find the courage to address Reeva or introduce himself.  

• Reeva finds everything in its place.
• She manages to go back to sleep.
• She wakes up late and takes the day off.

Reeva Goes to the Store 
 
Reeva washes clothes in the apartment's laundry room. She dusts and cleans. She tires of sitting home and goes out to the store. Or, she just wants to get away from the apartment. She grabs her hand-bag and leaves. Bill has moved into the apartment under Reeva's, knows where she shops and follows her.   

• She sees Bill at the Less-Everything Store.
• He pretends to look at an item.
• Reeva runs in and out of different stores.

Bill Makes His Move 

Bill shows-up at the last store Reeva visits. She recognizes him but isn't sure from where. Reeva backs up as though she's uncomfortable. She grabs her few bags with items and departs. She looked behind her several times. 

• Bill catches up with Reeva and tries to start a conversation with her.
• Reeva speaks and moves away from Bill.
• Reeva wants nothing to do with him.

Moved Furniture

 A few days passed without major incident. Reeva took a nap to get up earlier than usual to bake cookies for the party at work. Bill walks in as she's in the kitchen. Reeva runs to her bedroom with Bill following. He reaches for her. She falls, lands on her shoes and wraps her fingers around a five-inch heel.  

• He drags her to him as she screams.
• She tries to wiggle free, kicks.
• Bill pulls Reeva up with her hair.

The Struggle Continues

Reeva asks what he wants, why and how did he get into her apartment. Bill kicks her and she moans. She slowly raises the high heel shoe and stabs him in the eye. Bill pushes Reeva and she falls to the floor. He howlers as he snatches the shoe from his eye.     

• He steps on Reeva's body as he palms one eye.
• Reeva rolls around the floor.
• Bill stumbles as Reeva stands.

Conclusion 

Bill is dazed, throwing words of ill-repute at Reeva. He searches for the door. Reeva heads for the bedroom to get her cell phone. She dials nine-one-one. She hears a big boom as she talking to the nine-one-one operator. She looks-up to see Bill charging at her.   

• She drops the cell phone.
• Reeva hops up and begins throwing bottles of cologne and fingernail polish.   
• Bill in an effort to avoid them bumps into the wall, head first and falls-over.

The role of conflict in fiction requires a resolution too. It may not be a happy ending, but there must be a resolution. The resolution should come from the characters involved with he disagreement. In other words, it wouldn't be fair to readers or ring true if a neighbor just walking by ran into Reeva's apartment to save her.     

Fictional Characters

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Fictional characters are products of a writer's imagination. The characters are mixed into a make believe setting for entertainment or learning. The character isn't a real person in the sense that he/she really lives, but some fictional characters can seem like actual people. Take a look at how fictional characters become memorable.  

• Fictional characters must be believable and interesting.
• Writers must know their characters to tell attention grabbing stories.
• A major character's trait or quality is the "stuff" that brings him/her to life.  

 The focus of this post is on major characters, because they move the story forward. The choices of main characters are very important. Why? The choices of main characters move secondary characters to action, gossip or more problems. The profile of my character begins. The character hacks into any business computer system at random intervals, in hopes of not being caught.   

• The character stole his/her way into employment.
• He/she gained access to the computer system and stole money.
• This fictional character lived a life-style far beyond his/her means.

A character's profile holds all the information about him/her. The name, his/her mannerisms, flaws and attributes. As with people, my fictional character gets greedy and goes too far. You, too, jot down any feature or trait that you want to dress-up the character with.   

• What will the character's eye color be?
• Will he/she have a limp? 
• The strengths, ambitions or weaknesses of the character?

The above character that stole into his employer's computer system have the weaknesses of hacking and thinking he/she's smarter than most people. This character is always trying to dig information out of people, especially secrets.   

•  The character looks for information to accounts.
•  The character tends to brag about how easy it's to steal credit card information.   
• Social security numbers are a favorite of this character too.

Look-over your character profiles. Is more needed to make a character well rounded? You have too much information which isn't show-casing the character. It's information that can be uttered by his/her actions or secondary characters?

• Character profiles are sprinkled in.
• Memorable characters display a certain flaw or trait.
• Fictional characters grab attention when the flaw or trait is believable.

Fiction

What's Fiction?

Fiction is invented, the imagination churned it into existence or was created from an individual's view of a world. Characters are sprinkled into a setting to love, live or solve a problem. It's the actual participation in fiction related writing, short stories, novels, television, stage and screen plays.

Short Stories

A short story has one problem to address, but more problems and issues are weaved through longer fiction. It depends on the length of the fiction as to how many problems and issues are stirred-in. Or, work with as many problems and issues that you're comfortable handling.

Keep a Journal

It's a good idea to make friends with journals. A journal is where you store writing ideas, and fragments of writing ideas. They can be retrieved as you need them. They are the stuff of writing projects yet to be, and an excellent remedy for writer's block.

A Possible Journal Entry 

October 3, 2014

Store Visit
--walked into XYZ Store
--a young male worker unpacking items
--threw boxes around
--banged, stomped, rolled his eyes
--very rude

A writing idea and a character, Brandy Young, description was based on the above journal entry. You'll see how it unfolds. You, too, bring a character to life. It isn't hard. Gather pieces of traits you've liked and/or disliked from various people. Perhaps, people you know, celebrities or those from your past.

Think about a character's description before you start profiling your character. How will your character look? What gender? Will he/she live in the city, country or suburbs? Will he/she be able to speak? Ask other questions to bring your character to life.

Character Profile
Meet Brandy Young who is 15-years-old. She dislikes her job, authority and is an aggressive person who lives in urban America. She applied too late for a Summer job. So, Brandy's mother asked a friend to hire her at the XYZ store where the friend is a manager. 

Brandy is normally disliked, talkative and the leader of most situations. The five-foot Brandy is always in disagreement with someone, except her friend. Connie agrees with Brandy on just about everything. The two have been friends since grade school.

Know Your Characters

You have to know your characters in order to tell their story well. Write as much as possible about a character. You don't have to use all of the information, but use the profiles as reference guides. It depends on the fiction's length as to how much of a profile is shared.

Let Characters Show-case Themselves

Let characters show-case themselves through dialogue, or other characters can drop rumors about this or that fictional person. The fictional family through actions gives insight to characters too. What is said or not said indicates information about characters.

Fiction Factors

Fiction has a beginning, middle and it concludes. Start in the middle of a problem or issue. Let readers witness the struggle.

"Here she comes, Brandy." Connie pointed across the street.

Brandy and Connie ran across Broad Street.

"What up wit ya talkin' 'bout me, Sandra?" Brandy pushed her.

"I didn't say nothin' 'bout you." Sandra's eyes filled with tears.

"You callin' Connie a liar too?" Brandy curled her fingers into a fist.  

You get an idea. Brandy isn't one to talk issues out.

At this point, the middle approaches.  

Obstacles

The following is an obstacle for Brandy.

"Why are ya messin' with my sista?" A female with hair several shades of purple said.

"Don't touch me." Brandy walked away.

Sandra's sister followed Brandy, but Brandy ran. Brandy zoomed home, jumped in and out of stores on the way. Sandra's sister lost her. Brandy jumped up the steps of her house and slammed the door behind her.

Brandy was restless after she ate dinner. She kept getting up, couldn't stay seated. She sneaked out of the house as darkness descended, left the front door unlocked. She made her way to Broad Street. She stopped short of going up Sandra's porch.

"There she is!" Sandra walked down her porch.

Brandy punched her in the face and ran.  Again, Sandra's sister trotted behind her. Brandy rushed in front of cars, almost was hit once and Sandra's sister gave up.

The next evening Sandra, her mother and sister rang Brandy's doorbell.

"May I help ya?" Mrs. Young asked.

"I'm lookin' for Brandy's mom." Mrs. Ivan said.

"That's me." Mrs. Young stepped back into the door.

 Ya're daughter beat-up my sista, and I'm gonna get her." Sandra's sister headed into the Young's house.

"No, I came 'round here to find out why ya're daughter is fightin' wit mine." Mrs. Ivan explained.

"I don't like what this woman said." Mrs Young pointed at Sandra's sister. "She's too old to hit a child and I'm calling the cops."

"No, no cops." The Ivan family left.

In the next week or two, Sandra saw Brandy at the mall. She approached Brandy.  

"I said one thin' 'bout ya, and I'm sorry."

"Ya bought people to my house, got me in trouble."

"Was tryin' to talk to ya, don't want my sista in it."

"Too late." Brandy walked away.

Days passed without Brandy and Sandra encountering each other. 

Brandy's mother managed to drag out of her what was going on. She demanded that Brandy apologize. Mrs. Young went to her bedroom.

Brandy left and ended up at Sandra's house.

Sandra's sister saw Brandy and grabbed her by the shirt. Brandy wiggled free, pushed her to the ground and kicked her. Sandra's sister jumped up but Brandy took-off running. Brandy didn't stop running until she was home.

Brandy told her mother what had happened. She left out the part about how hard she kicked Sandra's sister in the side with her designer sneakers. Mrs Young told her that they'd go back tomorrow evening.

Let's Pause

A Character's Quest

A character must try, at least, three times before succeeding. It shouldn't be easy for a character to solve his/her problem. A character is changed after a problem is solved. The reader wants to see how a problem or issue is resolved. Also, it gives the reader more insight to the characters. The strengths and fears are exposed.

The most intense moment happens and then the turning point.

The Story Continues

Connie rang Brandy's doorbell. Only, Sandra's sister was behind her. Sandra's sister pushed Connie through the door when Brandy opened it. Brandy landed against the wall, unharmed.

"I was wrong, and will apologize to Sandra," Brandy confessed.

"Not dat easy, brat," Sandra's sister reached for Brandy's throat.

Brandy jumped back. Sandra's sister stumbled but didn't fall. Sandra's sister punched Brandy in the face while Brandy slapped her head against the wall. Sandra's sister staggered.

"Get out of my house!" Brandy yelled.

"I dialed nine-one-one," Connie threatened.

"It ain't over." Sandra's sister stumbled out of the door.

"Why ya bring her here?" Brandy splashed down on the couch as she rubbed her jaw.

"Didn't know she was behind me." Connie sat across from Brandy.

"She crazy." Brandy went to the kitchen to get ice for her jaw.

The two girls watched television. Connie decided to go home.

Mrs. Young arrived home from work. Brandy gave her account of what happened.

"I'm callin' cops."

"Mabe, it's betta if we go 'round dere like ya planned."

Mrs. Young agreed. 

They had tuna fish sandwiches and ice tea for dinner.

Before long, they retired to their bedrooms.

Saturday rolled around. It was about noon when the two left to go to Sandra's house. It didn't take long to get there.

Sandra's sister answered the door. She grabbed Brandy around the throat before a word was exchanged. Brandy started punching any spot. It took both mothers and a man to peel her hands from around Brandy's throat.

Mrs. Young pulled out her smart phone.

"No cops," Mrs. Ivan pleaded.

"This woman tried to kill my daughter." Mrs. Young consoled Brandy.

"I'm all 'ight," Brandy said. She coughed. "I came to apologize."

"I'm sorry too." Sandra's eyes filled with tears.

Everyone looked at Sandra's sister.

"I ain't done nothin' to apologize for." Sandra's sister disappeared into the house.     

"If I see or hear that woman anywhere near my child, I'm callin' da cops," Mrs. Young made clear.

Mrs. Young and Brandy headed home.

"I'm not sure Sandra's sister will leave me 'lone." Brandy told her mother as they entered their house.

"Don't go near 'em, and she seem to be scare of da cops. Call 'em on her."

"Not going near 'em."

They heard someone's feet beating against the ground. They turned around to see Sandra's sister charging them. She slowed down, and stepped up to Brandy.

"Can we drop dis"? Brandy asked.

"Nope." Sandra's sister replied.

"What's wrong..." Mrs. Young started to say.

"Shut up!" Sandra's sister shouted.

Mrs. Young pushed Sandra's sister away from her daughter. The two women pushed, shoved and fists flew. Brandy jumped on Sandra's sister's back which forced her head to bang on the ground. Sandra's sirster plopped down on the ground and didn't move.

Mrs. Young grabbed Brandy's hand and went home.

Brandy and her mother never spoke of the incident, but Brandy's bullying ways disappeared as did Sandra's sister.

The end is where all the loose threads are explained. In other words, every story line that you introduced must be explained and settled.

Places Characters Come From

Places characters come from are the people you know, memories and strangers who step into our paths and we weave it all through creative flow to form interesting fictional characters. The life you lead, places explored and your unique experiences stirred together are the mixture for memorable characters. They are the places characters live and wait to be discovered.

Let's take a closer look.

People You Know

Places characters come from appears in the person who brings laughter to everyone, even in times of sadness. He/she finds a thread of humor to slice away some of the tension in the room. Or, the person who can piece together a dinner or impromptu gathering with what is already in the kitchen. How about the individual who recalls people, places and preferences with only a bit of information. A character in one of my mysteries, for example, has an arthritic knee. She limps and have been seen rubbing it. I noticed it in a family member. The condition took hold of the body, and had a toll on simple activities that others take for granted.

• Many writers take traits and qualities from friends or family.
• You know their strengths and weaknesses.
• The key is to pluck away enough information for a starting point.
• Work with the flaw or trait that stands out. 
• The person who is called a character by family is a good choice.
• How about the person who is first to volunteer, no matter what.

Memories

Memories are the happy and sad accounts of your life. A life lived captures too many moments to remember. There are ways to let memories live when some have been forgotten. A picture, video or journal will bring back memories lost due to time.

• Memories provide for many possible writing ideas.
• It's an endless source for creating characters.
• Recall the picture of a lady that no one knows?
• The video of a get-together when everyone wore green.
• A pet's pose.
• Journal entry about the creepy (fill in the blank) ____________?

Strangers

Begin by selecting an incident, time, from memory. An incident from your first job is worth exploring. Select from an odd incident at the store, mall or at home. Focus on the stranger's behavior. The mentioned paths lends itself to creating characters.

• The stranger that gave you an ice-cold stare can twist down paths.
• The character could be a stalker.
• A character is paid to scare someone? Who?
• It started at 12 midnight.
• The wind hollered at the same time each night.
• Day quickly melted into night when the door shook.

A writer peeling away exact traits and qualities stands a chance of hurting feelings. The possibility of facing a law-suit detailing the theft of another writer's work taps you on the back when your creative flow strays. Therefore, characters should be the "stuff" of a writer's creative flow. Allow your style to awaken and shine. Finally, fictional characters come from various places, and sprinkling in people you know, memory or strangers you've seen can create exciting fiction.

Story Premise

Create a Story Premise

A story premise is quick and to the point. It explains the story in one sentence. The premise gives you, your story, direction. You know which path to take, confusion is side-stepped and story over-lapping disappears. A map is formed when a story premise comes alive. Avoid the confusion of stumbling into wrong turns, and ending-up on similar streets. Stick to the map, premise, and finish writing the story faster.

Every word written after the premise develops your story. Remove any word that stalls or stops the premise from moving forward. A story begins after the premise is created. The premise must be proved by your story. Look-over the following premises.

1. Aggressive behavior leads to bullying and ruined lives.
2. Too much ambition ends in cheating, exposure and destruction.
3. Good or bad, you receive back what you send out.
4. Stealing starts lying, drama and chaos.

It isn't necessary to create a story premise that's researched or soul searched for months. You have lived, experienced or seen various premises in action. Premises take the following shapes.

1. Aggressive behavior can be enterprising.
2. Ambition takes effort.
3. Karma, good or bad, returns.
4. Stealing leads to other crimes.

Premise, too, sprinkles in characters, conflicts and resolutions. Let's look closer at a premise. 

Aggressive behavior leads to bullying and ruined lives, for example. A character is bullied by another employee at the work-place. The character that bullies thinks he/she can display any type behavior, because management used several of his/her ideas. The character that's being bullied is new to this department, and brings better ideas.

The bully keeps reminding everyone of his/her used ideas. The bullying continues. Management receives complaints, but not from the bullied character. At this point, the bully is upset. He/she has a negative write-up. He/she invites co-workers to a bar after work. One or two people drag-in to this informal party.

The resolution starts as the bully refuses to stop his/her negative behavior. The bully taunts everyone he/she thinks reported him/her to management. The bully is moved to a different department. His/her behavior becomes worse, and termination follows.

In conclusion, a story premise is a one sentence explanation that stirs-in characters, conflicts and resolutions.

From Notes to Novelist

Write Your Novel.

I went from notes to novelist by commenting, in a diary of sorts, about being "retired" from a job. Yes, it took time, but you can do it too.

• Select a topic.
• Be passionate about it.
• Stir-in research, if needed.
• Start writing. 
  

Writing is therapeutic.

• Vent.
• Describe your feelings.
• What happened?
• Come to terms with it.

Sometimes, welling up emotion stops you.

• Take a break.
• Come-back in a day or three.
• Make notes.
• Dig deep for strength.

Tell your story.

• No one can tell it as well as you.
• Begin chapter one with the problem.
• Show the conflict and suspense.
• Move forward from chapter one with action.

Write every-day.

Original post at: http://voices.yahoo.com/from-notes-novelist-12605578.html.

Components Of Attention Grabbing Plots

Good Plots

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 Plot is the problem in a work of fiction, and how a writer sifts through a "fiction world" to resolve it. 

Good plots are woven through action, suspense and conflict.  

Action between opposing characters can be intense, and it's one way for characters to learn about the other's position. 

•A good plot grabs attention. 

•People keep reading.  

•A character's plight moves the story forward.  

•The incident has a chain reaction.  

•A shake up in "fiction world" for some. 

 Suspense happens each time a character almost succeeds, stumbling blocks are thrown in the main character's path. 

•Characters probe for answers to a murder. 

•Someone sprinkles false clues around "fiction world." 

•Frustrated, but determination pulls the character along. 

•The same character makes a desperate move. 

•Suspense builds as to what will happen. 

 Conflict means a clash while differences surface. 

•At this point, the two opposing forces meet. 

•Betrayal and bitter words are exchanged.  

•Each knows the other's position.  

•One wins or loses this particular round. 

 Opposing parties prepare to out-do each other to the end.

Original post at: http://voices.yahoo.com/components-attention-grabbing-plot-12596089.html.

Goal: Write

The goal of an author is to write. It could be fiction, non-fiction, essays or poems. Writers have to keep their particular goal(s) in focus. It requires time, and tuning out the nay-sayers, haters.

Find the time to write. Go after your goal. How? Pull-away from activities, people, that don't fit your vision. Or, people who don't bring positive actions, energy.

People who bring negative actions, energy, can't help you. The negativity interferes with you, and positive goal achieving.

Keep moving toward the goal of writing, or any goal in life, business.

Now, there's nothing wrong in seeing/hearing what others have to say. Haters and nay-sayers fail to bring advice that helps toward a goal. The negativity buries positive goal reaching. It stops you from being the best you, and seeing your goal realized.

It takes a lone person, often, to reach a goal(s).

Apply determination to a writing goal, or any goal you plan to reach in life, business.

Writing Check-List

In writing, it takes more than a few well placed words for vivid images to live. Writers should consult Writing Check-List. Writing ideas, work-in-the-making, are sifted through Writing Check-List, to make your projects better.

Writing Check-List is a writer's tool that should be used frequently.

It's wise to take a break from writing projects. You'll come-back refreshed, and better able to critique. Issues and problems with your work becomes clearer. It's easier to deal with an issue, problem, when you can see it.

Writing Check-List requires question asking like the following.

1. Is your writing understandable?

The night melted into darn...

In my mind, I meant to write dawn. The Check-List pointed out my mistake.

2. Writing projects must be stuffed with vivid images. This applies to fiction and non-fiction.

3. Strong verbs makes reading more interesting.

Bill ran.

Or

Bill dashed.

Dashed tells how urgent the situation is for Bill.

4. Paragraphs move with ease from one to the next.

Each idea begins a new paragraph.

5. Transitions flow from idea to idea, effortlessly.

6. Discard words that's not needed.

Well, it happened, last night, on November 14, 8 p.m.

What word(s) should be discarded.

7. The opening sentence, fiction or non-fiction, must grab the reader's attention.

8. Titles are what potential readers see, usually. The title is an invitation to read your writing
project. The invitation tickles the senses, opens-up disbelief, for example.

This is the hook to catch readers interests. You have only seconds.

In closing, Writing Check-List is a tool to inspire the best fiction or non-fiction within you.

Peel Ideas Into Writing Projects

Writing ideas stand-tall in dreams, walk around the market and live on the Internet. It takes a writer's creative flow to peel ideas into writing projects.

A dream that repeats itself, night after night, can unfold into fiction. Some dreams appear vividly and refuse to be forgotten.

Slice-away a segment, part, of the dream to write about. You don't want to write fiction? Write an essay about a portion of the dream. Your creative flow may prefer to write non-fiction on your dream. Use the dream in as many angles as possible. This is how the process of peeling ideas into writing projects begins.

The more you write about it, the better you'll understand your dream. After all, writing is therapeutic and good for you.

Stay on the look-out for writing ideas, no matter where you are. I can't emphasize that enough.

At the market, this happened to me, a stranger was on his cell phone. I didn't pay it any special attention.

"She's here with pink flip-flops on," he said.

Needless to say, I quickly moved away from him.

There are many writing ideas within that incident that comes to mind.

Fiction based on a stalker holds promise. An essay probing the loud tone people use on a cell phone. One last short story idea is that the man didn't have anyone on his cell phone. He wanted to speak to a female, but fear had him in it's grip.

The Internet, too, is a place to peel ideas into writing projects. Every link, Web site, offers material. Writers must decide which idea to use, how.

Let's look at an example.

Critique And Write Fiction

There's one more step to the writing process before sharing with the world. Few, if any, can skip it. Read the entire post at:

Critiqueandwrite.blogspot.com/2013/10/critique-and-write-fiction.html.

Do you get any ideas from Critique And Write Fiction? If yes, share them.

The last words are that it's time to write.

Critique And Write Fiction

There's one more step to the writing process before sharing. Few, if any, can skip it. Often, it's not the mot fun prt of writing.

It's the critique and write of fiction process. The initial writing centers around developing characters, scenes and peeling-out an exciting plot. The main focus isn't on sentence structure and weak writing.

Now, attention has to be given to all sentences. Sentences must move the plot forward, connect and stimulate a reader's imagination.

Put aside your manuscript. Start a new project. Make the calls you meant to weeks ago. The longer a work of fiction is, the more time needed away from it. Of course, pay attention to dead-lines.

Return to your manuscript. The second time work through critique and write by making sure characters read like real people. A character, for example, could tap his/her fingers anywhere when stressed.

Sometimes, dialogue helps.

Take a look at a simple morning greeting.

"How are you?" Mary asked.

People don't necessarily use those exact words.

Some say:

"What up?"

"Hiya."

"How ya doin'?"

Dialogue, too, should glide plot along with conflict and suspense. A fiction community's language should mimic real language.

There isn't room for words, lines or paragraphs that fail to show-case an action packed story.

A good place to start stories is on page one. Begin conflict as the reader is hooked. Establish a viewpoint, characters are exposed for who they are and the type of story being told is displayed.

The final words are that when writers critique and write better fiction comes to life.

Transitions

The job of a transition, in fiction, is to smoothly move stories along in time, location or point-of-view.

Fiction, especially long fiction, requires a time change. You don't have to bring-along five hundred words before a new day, time. Unless, your story can't be told without lots of words.

Take a look at my example.

I was awakened out of a sound sleep by someone shaking, knocking, at my door.

"Who...who is it?"

No one answered.

I reached for my cell phone, but it was dead.

"Who is it?" I asked, again.

No response.

I jumped into jeans, sleeveless top, and pink flip-flops. In case, I had to run. I plugged my phone into the charger, laid on the bed. Sleep refused to visit me.

Time Change

Night began to melt into day. I rushed to the door. A man was face-down on my porch.

I quickly closed the door, not sure what was going on. The police had to be called. Upstairs, I dashed. My cell phone still wouldn't work.

Downstairs, I returned. I cracked the door, and the man had disappeared.,I slammed the door shut.

I had to get to my cousin's house, help a few minutes away.

I locked the door, ran.

Location Change

At her house, I explained what happened.

View-Point Change

Deadman on ya're porch?" Louise looked at me with furrowed brows.

Louise was pencil thin with a man's crew-cut. She stared at me, shook her head.

"What now?" Louise sat down in her L-shaped kitchen.

In conclusion, transitions can make the writer's job easier, and entertain readers.

Role Of Conflict In Fiction

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with me? Leave me your opinion.

Conflict Moves Fiction

Conflict helps most stories hold the
reader's attention.

Conflict isn't new. You can greet
conflict on a daily basis.

Conflict is waking up late, not knowing
why the alarm didn't ring-out. You banged
your toe on the door in an effort to rush.
You begin to free ill, because your stomach
is empty. The train usually taken left ten
minutes ago.

The question is: Will anyone want to read
about your day? Most likely, the only people
that might want to hear/read about your
off day are friends or family members.

The role of conflict in fiction is to make
a scene attention grabbing when two opposing
forces come together, and the conflict must
be more interesting than what happens in life.

Stir-in as much conflict, chaos, as possible
for successful fiction.

Let's add more conflict to the reason an
alarm didn't ring-out.

A character, Kendra, met Bill indirectly.
He stared at her while they listened at a
Wal-Mart cashier talk about the four men
she slept with.

Kendra shook her head. Bill tried to get
Kendra's attention. Kendra looked straight
ahead, never looked behind her.

Kendra began to see Bill outside her house,
market. He just stared.

She began to notice clothes in her closet
re-arranged, dishes left in the sink washed.
She told people at work. Someone suggested
that she call the police.

"And tell them what?" She responded

Kendra returned home, checked the alarm and
noticed that it had been turned-off.

At this point, Kendra isn't sleeping well.
The slightest noise wakes her.

She hears someone walking around the apartment.
The apartment door closes.

Kendra jumps to her feet, picks up her high
heel shoe and looks around the apartment.

"Was it my imagination?" She asked out-loud.

She over-sleeps and is late leaving. Someone
is trying to get into her apartment. She pulls
the door open to find Bill.

Bill pretends to be looking for someone else.

Kendra takes the day off, remembers seeing Bill
at various places.

Kendra sees Bill at the Less-Everything store,
but he pretends to look at an item.

Kendra runs in and out of different stores,
but Bill shows-up. She has lost fear to anger.

Bill drags over to her, wants a date. She
tells him "no." He departs quickly.

Kendra discovers moved furniture. She takes
several days off from work.

On day three, he walks through her apartment
door. Bill finds Kendra in the kitchen. She
raws her hand from behind and slaps her high
eel shoe into his face. He falls backward.

Kendra dials 911.

Bill pulls the shoe out of his cheek, gets
in Kendra's face. She screams, drops the
cell phone.

Bill drags Kendra to him by the hair, but she
struggles and falls to the floor. She tries
to crawl away. He kicks her. She moans.

Kendra slides along the floor to her high
heel shoe Bill removed from his face. He
steps on her body. Kendra lands face-down
on the shoe.

Bill begins to stand Kendra up. She stabs
him through the eye using a high heel shoe.

Conflict in successful fiction, too, ends
in resolution.

Resolution in the above example: Bill entered
Kendra's apartment and she was forced to
defend herself. The conflict between Bill
and Kendra (opposing forces) necessitated
a resolution.

In closing, the role of conflict in successful
fiction demands that it grabs attention when
opposing forces come together in scenes, and
from that conflict a resolution emerges.

http://voices.yahoo.com/role-conflict-fiction-10916017.html

Story Premise

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How To Create A Story Premise

A story premise is quick and to the
point. It explains the story in one
sentence. The premise gives you, your
story, direction. You know which path
to take, confusion is side-stepped
and story over-lapping disappears.
A map is formed when a story premise
comes alive. Avoid the confusion of
stumbling into wrong turns, and ending-up
on similar streets. Stick to the map,
premise, and finish writing the story faster.

Every word written after the premise
develops your story. Remove any word
that stalls or stops the premise from
moving forward.

A story begins after the premise is created.
The premise must be proved by your story.
Look-over the following premises.

1. Aggressive behavior leads to bullying and ruined lives.
2. Too much ambition ends in cheating, exposure and destruction.
3. Good or bad, you receive back what you send out.
4. Stealing starts lying, drama and chaos.

It isn't necessary to create a story
premise that's researched or soul
searched for months. You have lived,
experienced or seen various premises
in action. Premises take the following
shapes.

1. Aggressive behavior can be enterprising.
2. Ambition takes effort.
3. Karma, good or bad, returns.
4. Stealing leads to other crimes.

Premise, too, sprinkles in characters,
conflicts and resolutions. Let's look
closer at a premise. Aggressive behavior
leads to bullying and ruined lives, for
example.

A character is bullied by another employee
at the work-place. The character that bullies
thinks he/she can display any type behavior,
because management used several of his/her ideas.

The character that's being bullied is new
to this department, and brings better ideas.

The bully keeps reminding everyone of his/her
used ideas. The bullying continues. Management
receives complaints, but not from the bullied
character.

At this point, the bully is upset. He/she has
a negative write-up. He/she invites co-workers
to a bar after work. One or two people drag-in
to this informal party.

The resolution starts as the bully refuses to
stop his/her negative behavior. The bully
taunts everyone he/she she thinks reported
him/her to management.

The bully is moved to a different department.
His/her behavior becomes worse, and termination
follows.

In conclusion, a story premise is a one sentence
explanation that stirs-in characters, conflicts
and resolutions.

Source: http://voices.yahoo.com/story-premise-10807383.html

A Memorable Character

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Make A Character Memorable

"Hope there's a sequel." A fan
stated.

"That character reminds me of a
cousin, sweet but smart." A reader
declared.

"If only I could be half as strong
in a situation like that." Someone
said.

"His emotions were conflicted,
because he/she was on the wrong
side." A person commented. "Shame."

"The main character had looks and
morals."

Or, when a friend or relative looks
over some of your work and say,
"I'm enjoying this...it's relaxing."

"I'm glad." A writer responded.

"I didn't know you could write like
that."

"I try."

"I'm going to bookmark your blog,
want to visit it again." A
friend/relative.

"Leave a comment. You might not
like some posts."

"How long have you had it?"

"Two, three or more years."

"Yeah?"

A character, in fiction, becomes
memorable by standing-up for a
cause when doing so is dangerous,
possibly life threatening.

The memorable character is placed
in a situation that makes sense.
The goal is to provide a world
readers can escape into from
theirs, and enjoy the created
world. Readers should like or
hate the main character, feel
sorry for any character. Throw
angry words at disliked
characters. Cheer for a secondary
character.

The memorable character is gossiped
about, lied on and called unfavorable
names.

Memorable character walks on,
chin-up, through the haters.

The taunting continues, but memorable
character finds a chip of happiness.
Some people resort to poking fun at
memorable character's life, family.
They take stabs at tampering with
memorable character's work on the
job.

Memorable character holds onto
morals, values and beliefs to
sustain him/her.

Memorable character's enemies look
like fools, become more aggressive.

The character could call the police.

The character isn't moved, scared,
by enemies. He/she continues to
live his/her life.

Memorable character gets sick,
loved ones pass-away but enemies
hammer harder.

The character survives, to the
dismay of enemies.

Still, the character never gloats.
He/she takes each day as it comes.

Enemies hurt themselves trying to
belittle memorable character.

Memorable character, in the end,
lives well but is forever changed.
Now, how a character lives at the
end depends on the writer.

In closing, all issues, problems,
introduced are resolved at the end.
The issues, problems, slammed on a
character, how he/she handles them
and survives explodes into memorable.

Ideas On Writing

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Writing Ideas

The answer to that starts with
whether or not you're going
to write about fiction or
non-fiction.

Fiction is a world created by
a writer. He/she populates it
with memorable characters, an
interesting setting and a plot
that takes the reader down
various twisted paths.

Non-fiction is based on facts,
researched information. The
research route leads to the
Internet, library, interviews
too.

Writing ideas await at home,
in gatherings and at the
doctor's office.

At home, you're sitting and
relaxing. The room is warm,
shelter from the winter season.
A sudden cold breeze push at
your back. You snap your head
around to see nothing.

The incident can be spun into
fiction or non-fiction.

In fiction, the writing idea
surrounds a haunted house.
People rumor that it's haunted
because death of a popular
person happened in the house
under suspicious circumstances,
or anyone who sleeps in a
certain room of the house
dies mysteriously.

A non-fiction idea centers
around researching owners of
one house, several generations.
The idea is to locate people
who can give eye-witness
accounts of paranormal activity.

Gatherings are opportunities for
collecting writing ideas. There's
usually more than one generation
to get writing ideas from.

A topic is talked about that
you'd like to write fiction
or non-fiction about.

Perhaps, a family secret was
whispered about. Do you write
fiction or non-fiction about
it? The choice rests in your
hands, the writer.

A possible idea follows.

"You stole grandmother's money?"
A cousin shouted.

"Weren't talkin' to ya," Billy
said.

Mouths dropped, sighs and aws
could be heard three miles away.

What should happen next?

A non-fiction project could
focus on a study of your family.
Your idea?

The doctor's office is a place
most people would prefer not
to visit. Still, writing ideas
live there.

Have something happened in a
doctor's office you'd like to
share?

Like: "Where's Amentis Cordo's
file?" A nurse rushed to the desk.

The lady at the front desk looked
in a wall covered file cabinet,
but couldn't find it.

"Not here."

The sound of someone bouncing
against the wall shot from the
back.

"Help..."

The story has many paths to
take.

Possible Writing Ideas

1. The accountant's job

2. What's required to be an
effective manager

3. Harmful/Helpful Sun Rays

4. Soothing Home Remedies

5. Benefits Of Relaxing On A Beach

6. The Writer's Life

7. How To Tell A Joke

8. Why Use Recycled Paper

9. Benefits Of A Smile

10. Why Write Hubs

Ideas on writing exist anywhere,
everywhere. Be the sponge to soak
them up.