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Inevitable Narrative: How to Detect what Is Necessary in Your Fiction

December 7, 2020

characters, ending, narrative, plot, writing

Learning how to detect what is necessary in your fiction allows you to write an inevitable narrative. A narrative that is inevitable is structurally solid and leads to a sense-making ending.

Therefore, it should be fairly obvious that learning to see what’s necessary and what’s not when writing is very important. To put it simply, without having an inevitable narrative you will likely have problems with narrative pace as well as a problematic ending.

Moreover, a non inevitable narrative… inevitably creates problems with over-explaining and exposition. The reason? If something that shouldn’t be there actually is, you tend to (sometimes subconsciously) rationalize it with superfluous content.

In this post we’ll take a closer look at inevitable narratives. I’ll show you how to decide what is narratively inevitable and what isn’t, as well as how to structure your narrative in a way that precisely favors its inevitability.

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Rhythm in Prose: The Rolling Waves of Storytelling

August 31, 2020

Criticism, Writing

guest post, Igor Livramento, narrative, pace, sounds

Today’s post on the concept of rhythm in prose is authored by Igor da Silva Livramento. He’s a fellow academic from UFSC, fellow author, fellow creative-writing advisor, and overall a great fellow. He’s also a composer, music theorist, and producer. Check out his papers on Academia.edu, his music on Bandcamp, and his personal musings on his blog – in Portuguese, Spanish/Castilian, and English.

So you’ve heard of rhythm. It exists most explicitly in music, especially music with drums and beats and looping patterns. It also exists in poetry, with its rhyming and metrical patterns.

Indeed, rhythm is a remarkable feature of our very life and its processes. Think of sleeping, walking, breathing, or having a heartbeat.

No wonder, then, that rhythm in prose is so important. In this post we’ll see how it manifests and why it matters.

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Concept Fiction: a How-to Guide for Intelligent Narratives

August 11, 2020

Fiction Writing Tips, Writing

concept, creativity, fiction, genre, imagination, literary fiction, narrative, writing

By “concept”, we usually refer to an abstract theme, topic, or group of ideas. And so, in this context, concept fiction refers to writing that is not plot-based but rather themed-based.

In some way, this might make you think that concept fiction is a matter of genre, but this is not entirely accurate. True, most e.g. crime fiction is plot-based (whereas literary fiction isn’t), but there is an important difference.

Whereas the idea of genre fiction (or of literary fiction) informs the aesthetics and form of the narrative – that is, what it looks like – concept fiction refers to the process itself: how to write the narrative.

Of course, having a different methodology of writing directly affects the outcome – and so, to some extent, the aesthetics. This means that:

although concept fiction is applicable to any genre (or literary fiction, or experimental fiction), it does somewhat blur the established borders between genres and can destabilize its own position in the literary category.
it’s an invaluable tool of imagination and creativity.

Especially if you’re a genre writer, the first element above might sound like something bad. It isn’t, but it also depends on your priorities. We’ll get back to this later in the post. For now, a simpler way of putting it would be this: “Concept fiction helps your work stand out from the vast crowd of mediocre works”.

Much better, isn’t it?

In this post we’ll take a closer look at all these elements, and see how writing concept fiction can help you produce intelligent narratives that are cohesive, symbolically rich, and intriguingly original.

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