All I can say is: be ruthless when it comes to anything that’s — clunky (awkward), redundant, superfluous, extraneous, clichéd, telling, overdone…
When it comes to having a nice fluidity to your narrative you have to ensure you remove things that simply don’t need to be there, simple! Take them out and if it still works then you are on the right track. Some writers think they have to say it in unique and interesting ways. While, to some extent, that might be true it can, if you work too hard, really feel forced. Then it simply doesn’t work! I have seen some wonderful metaphors and similes lost in a crowd of metaphors and similes! The trick is to use such devices sparingly and in just the right place. This gives them power. Got it?
Here are just a few things to ponder… I will talk about filler and the things you can lose from the actual story tomorrow!
- Description — this is important for allowing the reader to
really‘see inside the moment’, to visualise it as you intended them to, but they don’t need everysingledetail drawn in for them — just enough and perhaps more importantly to create the right mood, or tone, perhaps, even, to create the right sense of danger if you are leading them to the edge of a cliff face, for example. Sparing, yet vivid wins the day! So it really does come down to how you use your words and which ones. And if in a moment of great tensionthenwhatever you do don’t stop to admire the view, make the description an active part of the movement itself. Look at how other writers do it!
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- Look at things like attributions; the ‘he said/she said’ in dialogue. You will find that a lot of the time you can remove these as long as you can stay with the flow of the conversation. Better to show some body language so we know who said it. And don’t write ‘they paused’ — create the pause with an action! None of us stop and pause, well not really! Lose adverbs that are redundant if we can see how something is done or said. Lose different words for said when said is just fine (I have talked about this before!) Punchy and sharp!
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- Lose clichés as these are
considered to belazy prose! The tears streamed down the face… ugh! How about she dabbed her cheeks or some other more interesting way to show she was crying!
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- Telling tags: These tell why something is done or said when it’s usually obvious! She stopped the man to ask the time because she was worried she was late. Telling! If we see her rush and ask the time as she rushes we can see it, it’s shown! See what I mean?
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- Lose ‘that’ and ‘very’ and ‘just’: a lot of the time … see some of my deliberate crossings out. Also see the use of italics when I think the word is more functional so I left it in… The way
thathe said it made her smile; he wasjustso angry (more active?); she wasveryjealous (though better to show this through actions… right?) Also think about some of the adverbs we overuse! Like ‘suddenly‘…Sooften there is no other way to interpret the action so lose it and just show the action!
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- Pleonasms: nodding
the head; shruggingthe shoulders;thinkingin the mind… Where else? Get the idea?!!!
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The message here is very simple: if you can lose it, lose it. That way the writing becomes sharper! 🙂 Only repeat expressions or use words that are less functional in a sentence when part of character voice and there is a difference as I will show you later in the week!
Happy Tuesdaying!