Published By: Cover Design and Graphics: (C) Brian Scott

published by http://www.FreelanceWriting.
com Cover design and graphics: (C) Brian Scott
How to Write Fiction Stories with Substance

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Contents
Subjects of Substance ........................................................................................................... 5 Themes of Substance ............................................................................................................ 9 Characters of Substance..................................................................................................... 10 Backgrounds of Substance ................................................................................................ 14 Characters of Change ......................................................................................................... 16 Narratives of Substance ..................................................................................................... 18 Conflicts of Substance ........................................................................................................ 20 Plots of Substance ............................................................................................................... 22 Complications of Plots ....................................................................................................... 24

Chapter 1: Subjects of Substance

Writing fiction stories of substance requires feeling. The word feeling appears persistently when we discuss fiction. It takes many forms, but the essential substance is the same. You must always use feeling in fiction because readers demand it. Feeling molds your story's character, setting, action, idea, and style. Fiction must be about something. Unlike some forms of modern paintings or sculptures, in which design exists abstractly (like an algebraic equation), fiction is representational. The representation may be either "lifelike" or distorted. But fiction is about something. It has subject matter consisting of people, events, ideas, background, and perhaps much more. In general, you should follow four rules about the subject: Rule #1: Write about a world which you know. The word here is "a world," not "the world." Every person is familiar with many "worlds." A college student is familiar with 1) the world of youth as a whole, 2) the high-school world, 3) several geographical worlds (city, section of city, county, section of country, country) where he has lived or visited, 4) several economic worlds (rich, poor, middle class) that he has observed, 5) church world, 6) the racial or professional world to which his parents belong, 7) any world where he has ever held a job, 8) his intimate family world, 9) any world (sports, army, night clubs, shipyard, airplane) where he has ever had an experience, 10) the private world of his own dreams and fantasies, and 11) the world of that particular topic (if he has ever

studied any one topic intensively). With all these worlds to choose from, you can always find something that interests you. Familiarity with any world is a relative matter. No person knows everything about any one of his worlds. If you wait too long to inform yourself thoroughly about any world before writing, you will never write. You do not have to live in a place all your life to write about it; for example, I never lived in California, but I did write a novel set in Los Angeles. You don't need to be a certified auto mechanic to write about how to fix a flat tire. You don't have to be a gardener to write about roses, or a mother to write about children, or an ornithologist to write about birds. Many writers first conceive the idea of writing about something familiar, and then flesh out the idea with more precise details. Of course, if you already know enough about the subject, so much the better. Rule #2: Choose for subject matter anything in one of your worlds that has stirred a feeling in youjoy, amusement, grief, anger, pity, wonder, delight, bliss, or anything else. You do not need to connect strongly to the feeling; but the feeling should be pervading and real. It may be a feeling for a character, a place, an idea, an action, or a situation. Examples: a) You feel excited witnessing a fine play in a crisis on the football field; that is a subject for fiction. b) You are amazed that two such persons as A and B should be married; that is a subject for fiction.

c) You recall the pain of a few disillusionments you have suffered in college; that is a subject for fiction. d) You feel sorry for a homeless man begging on the streets; that is a subject for fiction. Rule #3: Prefer the unusual to the customary and commonplace as a subject. Actually, everything, if looked at in a certain way, is out of the ordinary. Every character is a unique individual; every situation involving such a unique character is therefore unique; and every incident is unique because it happens once in that moment. Moreover, some writers have a talent for charming the reader with the fascination of the commonplace. Some fiction authors (like Chekhov, Virginia Woolf , Thomas Wolfe, and sometimes Maupassant) can make high drama out of the ordinary by revealing the emotional tensions lying beneath the surface. Nevertheless, you will write better fiction if you deal with an unusual subject. The word "unusual" is also relative. Any kind of unusual subject is one that makes the headlines on USAToday.com or "stops a crowd in a busy street or in a shopping mall." It might be 1) a war, 2) a riot, 3) a fight, 4) a murder, 5) a pursuit, 6) a celebrity, 7) a freak, 8) an experience with the supernatural, 9) an accident, 10) a convict, 11) an exploration, 12) some far-off and little-known place like the Arctic or central China or islands of the South Seas, 13) a strange group of cultists, 14) a little-known pocket or stratum of our own society, or the like.

Sometimes unusual subjects are nothing more than unsensational out-of-theordinary incidents in the lives of ordinary characters: 1) a broken doll in the life of a little girl, 2) a chance meeting of two former lovers, 3) a college student's interview with his scholarship board of directors, 4) the birth of a baby, 5) a quarrel with one's lover, 6) a love affair, 7) a marriage, 8) an operation, 9) going to the circus, and so on. The interest of such stories would lie in your story's characters: 1) their mental and psychological states; 2) their internal and external emotional conflicts; 3) their settings and surroundings that interact with their thoughts and actions. Rule #4: A subject should exist on two levels. Examples: a) If it is a war story, it will not only recount war adventures, but will also illustrate the writer's feeling or philosophy concerning war or men at war. b) If it is a love story, it will try to reveal the intricate nature, the curious sources, the odd manifestations of the emotion of love broadly conceived. c) If it is a story about a child, it will not be a story about one child, but about all children about their problems, their struggles, their griefs, their joys, the fundamental nature of child psychology, the difficulties an adult has in getting into the child mind or child point of view. The children's classic Alice in Wonderland could probably not be written today, and neither could Robinson Crusoe. Neither the authors nor the readers of those books would be satisfied to have them remain what they are: pure studies in

fantasy. Modern authors and readers would want all the characters and events to have a deeper meaning, a symbolic significance. When books of pure fancy (without deeper meaning) such as these are written today, the critics slight them and they are soon forgotten. One out of a thousand or so of them may become a popular best-sellers usually for a very short time; but then they are forgotten.
Chapter 2: Themes of Substance

The subject overlaps the topic of theme in fiction. The theme is the essential idea, or intellectual concept, that illustrate the characters and action. It is the generalized abstraction covering the concrete instances of the story. Fiction is not philosophy and it does not philosophize or preach, but good fiction is always philosophic. It generalizes about life, expresses ideas about life, comes to some intellectual conclusion about life (even if the conclusion is no conclusion at all). John McPaul, a journalism professor at NYU, once expressed the idea: "Life, as it presents itself to us as we pass through it, has no pattern, or at least none that is certain and intelligible. It is multiplex and bewildering; its laws are confused; it does not satisfy our hopes or our aspirations: sometimes it seems purposeless...It makes no pattern." Good fiction makes out of life some intelligible pattern, draws some kind of meaning out of the multiplex, bewildering, and confused world.

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Good fiction has theme. Indeed, says McPaul, "The value of any work of fiction, ultimately and on the whole, is the worth of the speculation, the philosophy, on which it rests." A piece of fiction expressing the profoundest truths about human life is not necessarily great or even good fiction. But really good fiction cannot exist without philosophical content, without theme. The theme may be trite and painfully obvious; it may be highly original and thought-provoking where also the theme is often too obvious; or it may be subtle, something merely suggested or implied or vaguely felt by the reader and perhaps not clearly understood by the writer. But even in these last, a theme is present, and it is profound.
Chapter 3: Characters of Substance

In fiction you should center the narrative around one character. Take this advice with some reservations. Sometimes a group of people (a family or a squad of soldiers, for example) may constitute the central "character." Sometimes it may be a house, or a locality, or an animal, or even a half -personified force in nature like a storm, a sea, a mountain, or a drought.

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In a long narrative the central character may change from part to part, or even from chapter to chapter. In some chapters, or parts, or even entire works, your story might focus on no one character, but divide among many, even though such a scattering of interest is unusual. Rule #1: As a general rule, you should decide from the beginning that you will center your story around one character, or two at most. You will give the one character the most space; you will record his actions, thoughts, and emotions in greatest detail; you will narrate very little if it does not concern your character in his presence; and he will view the world in which he lives through his eyes and nobody else's. As in a photograph, you will focus sharply on your main character to bring him into the foreground, and focus less on all the other characters except as they move very close to him. Rule #2: You can crease highly individualized characters who exist because they are intrinsically interesting like the designs in a kaleidoscope. Rule #3: "Typical characters" have always appeared in fiction. They are more common today in serious fiction than are individualized characters. You can create a typical character in several ways. Examples: a) He may be typical of a period of life (childhood, the teens, youth, and so on), b) He may be typical of a sex. c) He may be typical of a time in history. d) He may be typical of a geographical region. e) of a race, of a trade or profession, f) of a social class,

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g) of a manner of thinking or acting or feeling. Furthermore, he can be typical in several of these ways at once. Typical characters are in demand nowadays because this is a scientific age and a typical character gives the reader solid information about some group of people, and seems to be the inductive result of extensive observation on people. Rule #4: Static characters prevail in most short stories and many novels. Static characters do not change while we know or observe them; they remain throughout a piece of fiction just what they were at the beginning. Most love stories have such characters; so do stories of sports and outdoor adventure; so do most humorous stories; so do certain analytical stories whose chief concern is to reveal a psychological condition that exists. Rule #5: Developing characters who change are usually more interesting than static characters. They are more interesting because they indicate more skill and understanding on the part of the author, and because they are more true to readers than are static characters. In the real world, our mannerisms vary from year to year; our opinions, our habits of action, our customary reactions change as we change places of residence, grow older, and learn more from experience. When a teacher is young, he wants to fail all his students; as he grows older, he wants to pass them all. When he is young, he believes he knows a good deal; as he grows older, he doubts whether he knows anything. When he is young, he tries to help people with good advice; as he grows older, he knows that nobody ever takes advice.

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Nearly all the greatest works of fiction show the development of characters. I use the words "development" and "change" to signify growth. You can easily portray a character's nature from good to evil or from evil to good, or from wisdom to folly or from folly to wisdom, and so on. Before you can portray character growth, you must ask yourself, "Have I planted the seed for such growth?" Sudden conversions do not indicate character growth: they are always unwarranted in a well-constructed plot, and they are not true to life.

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Chapter 4: Backgrounds of Substance

The background of your story is important to develop your characters as well as the action in your plot. You can use one or many backgrounds in your fiction story. Some of the best classic fiction stories are built solidly into a background. And practically all of the best novels depend similarly on background. The ideal story should have 1) background, 2) actions, and 3) characters so interdependent that no one of them could exist without the others. What happens in New York could not possibly happen in Louisiana; what happens in 1985 could not possibly happen in 2020; what happens in the Mexican section of San Antonio could not possibly happen in the wealthy Anglo-American section of the same city. The serious reader of modern fiction expects the story to give him information. That is one reason why background is so important. The serious reader may expect fiction to teach him something about history but not vague, generalized history. Probably he has a pretty good idea of the American scene in 1944, but he expects his fiction to give him a precise view of Memphis, Tennessee, or of Bangor, Maine, or of Portland, Oregon, in 1944. Moreover, he would like to have his fiction teach him a little about social classes and the means by which certain groups of people make a living. He would want to know exact details about growing cranberries in New Jersey in 1960, or the lumber trade in Bangor, or the fishing industry in Portland; and he would want to know what races of people, economic classes, social groups, and intellectual types made up the population of Memphis, Bangor, and Portland in 1950, 1990, or today. If he did not get this

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historical, social, and economic information, he would ask, at any rate, for a picture of the landscape, details of lifestyle, manners of speech, and other external details. If he were denied this, he would wish for some new philosophical idea in his fiction, or some large truth about God or mankind, or some analysis or criticism of society, or some revelation about certain moral or political theories. And if he were denied all this, he would wish, at least, for some increased knowledge of child psychology, or the psychology of elderly people, or the psychology of love, or abnormal psychology, or the psychology of the college student, the college professor, or the college president. One of the most significant distinctions between poor fiction and good fiction today is that the former is almost barren of information, and the latter is rich in it.

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Chapter 5: Characters of Change

The fundamental element of all narrative is time. A genuine narrative does not simply reveal or describe a static situation; it tells what has occurred in time. Time is conceived and measured by means of change. Accordingly, the first question that you must ask yourself about your prospective story is, "What kind of change will my story have?" The change can include these various kinds: a) A change in the relationship of characters to one another. A couple may be unmarried when the story opens, and married when it closes; the hero may be a victim of oppression at the beginning, and a victor at the end; he may be loved by others at the beginning, and hated at the end. b) A change in the relation between a character and his environment. Your main character may be at the mercy of nature when he is shipwrecked, but as the story progresses he becomes a master; your main character may be a poor boy who moves from suburbia to New York City where he finds fame and fortune as a successful entrepreneur later in life. c) A change within a character himself brought about by environment (as in Conrad's Heart of Darkness), by other characters, or by deep physical or spiritual experience (as in The Scarlet Letter and Macbeth). This type of change has always appealed most strongly to critics. Developing this type of change requires the most consummate skill on the writer's part because it is creation in the process, human personality in the crucible, the actual labor throes by which all that is significant in character comes into being.

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d) A change in the reader's knowledge. On the most elementary plane, this knowledge may involve nothing more than knowing what happened. Did Robinson Crusoe get off his island at last? Did the hero find the buried treasure? Did the detective ever find out who committed the murder? Or it may involve elements in character, in which there is a gradual revealing (as in Hamlet) of the depths and complexities of a character. Or it may involve elements of human nature and of society. Or it may involve the reader's increasing insight into the laws of life, or his introduction to a new philosophy. e) Finally, the change may be in the knowledge which some characters in the story have about other characters. In Forrest Gump, for example, most of the action centers about the way various people misunderstand Forrest, but eventually come to know him.

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Chapter 6: Narratives of Substance

The change that occurs in every narrative may occur steadily, without interruption or obstruction from any source. Thus a boy and a girl may fall in love at first sight, resolve to marry, and get married with never any doubts, misunderstandings, jealousies, quarrels, parental objections, or financial difficulties. But that is not what usually happens, nor would it make a very interesting story in itself. Straight narratives of this sort (for example, stories of travel, accounts of hunting trips, newspaper stories, narratives about unusual experiences ) derive any interest they may have from: 1) the intrinsic interest of their subject, or 2) from the subtlety and skill of their portrayal of character, or 3) from their descriptions or their style, or 4) from the curious or unusual nature of the events they record. They are not interesting as narratives. Obstructed narrative is essential. The boy and the girl who fall in love do not immediately become engaged and get married straightway, without doubt, difficulty, question, self -question, objection, delay, or obstruction from any source; and their story would not be interesting if they did. You need to make your story interesting by throwing in all sorts of obstructions, and letting the characters struggle to remove these obstructions. You can conceive this kind of narrative as a series of incidents moving closer to or further form a certain conclusion or result. We have an interplay of what we can refer to as positive and negative forces. The positive forces have a common

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direction or movement toward a certain end; the negative forces run counter to this trend, or obstruct it. Suppose, for example, I leave my home to go to a movie theatre downtown. I go out, get in my car, ride to the theatre district, park my car, walk to the theatre, present my ticket, and go in. This is straight narrative. But suppose the story went like this: I leave my home in my car, but halfway to the theatre I discover that I have forgotten my ticket, and must return home for it. Here is a positive force moving in one direction, and a negative force obstructing it. Suppose I go back and get my ticket, and start out once more and run out of gasoline on the way. The positive force is obstructed by another negative force. Then I get gasoline and start out again and before I have gone two blocks I find that I have a flat tire. Positive and negative again. The story might go on endlessly. All I need to do is think up more and more obstructions: an arrest for speeding, a train blocking a street, a fire to drive around, a minor traffic accident, no parking place available near the theatre, and so on.

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Chapter 7: Conflicts of Substance

Most books on fiction writing say a great deal about "conflict" in a story. But perhaps novelist Miss Eudora Welty came near the whole truth when she said, "On some level all stories are stories of search." Perhaps, however, "Quest" is a better word than "search." In most stories, someone is in quest of something. Someone is in quest of a wife, a fortune, an honor, a murderer, a victory, truth, righteousness, knowledge, power. Whenever anyone starts in quest of anything, a story is begun. Sometimes the quest is initiated out of a character's own desires as when a character 1) wishes to marry someone, or 2) to find a buried treasure, or 3) to graduate from college, or 4) to escape from prison or from a desert island. And sometimes a quest, like greatness, is thrust upon a character. When a character pursues a quest, certain incidents show him the way to attain it, and other incidents may show him having difficulty in moving toward it. These are the positive and the negative elements already mentioned. Sometimes the interplay of these two elements does create a conflict. Conflict may exist on one of three planes: Plane 1: The action may derive from the conflicting wills of two people (or groups of people). Examples:

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a) Police try to capture a criminal and the criminal tries to elude them. b) One body of soldiers tries to seize a landmark and another body of soldiers tries to hold it. c) One person tries to keep a secret and another tries to discover it. d) One man tries to marry his high school sweetheart another man tries to marry the same woman. Plane 2: You can derive the action from the conflicting wills of several people (or groups of people). Examples: a) A criminal is trying to escape, the police are trying to capture him, another person is trying to make an innocent person seem to be the criminal, and the innocent person is trying to prove his innocence. b) One man is trying to marry a certain girl, another man is trying to marry the same girl, and the girl herself is trying to marry a third man. Plane 3: You can also derive action from the conflicting wills within one person. Examples: a) A man is attracted to two women at once. b) A man wants to be honest but is tempted to be dishonest. c) A man wants to be brave but is afraid.

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d) A man is incapable of making a choice between two objectives that he chooses a third. Many books and many stories have used conflicts such as the above examples; indeed, many people think that a story cannot exist without conflict. To be sure, conflict does intensify interest in fiction, and is almost a necessity in the "popular" stories and novels. But a story or a novel may be very fine literature, and yet have no conflict in the literal sense.
Chapter 8: Plots of Substance

The commonest statement any teacher of writing hears from his students is, "Oh, I can't invent plots!" The first answer to that exclamation is, "You can write good stories without plot." And the second answer is, "Creating a plot is the simplest thing in the world." A writer creates a plot when he sets a character on a quest. That is the essence of plot. The quest may be for something insignificant; but if it is to hold the reader's interest very long it must be for something that the character involved, or the reader himself, considers important.

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You can write the story of the quest as straight narrative; but in any story that hopes to attract willing readers, you must tell the quest as obstructed narrative with positive and negative elements. All the incidents in the story should relate (positive or negative) to the central quest. Sometimes, in a novel or a very long story, you can include irrelevant incidents for the sake of humor, character revelation, their intrinsic interest, the creation of a certain emotional atmosphere, or conveying necessary exposition. If your narrative fulfills the four requirements just listed (Change, Obstructed Narrative, Quest, Conflict), you can be sure that your story has a plot. Certain kinds of writing do not constitute plot-narrative, such as: 1) Interesting characters who talk together and do things, but who do not pursue some quest, do not make a plot. 2) An interesting scene with typical characters moving and speaking in it backstage in a theatre, on the bridge of a ship, around a campfire on a cattle ranch, in a college classroom does not make a plot. 3) An interesting situation in which characters are depicted a married couple who are ill-matched, an oil well just brought in on the place of an ignorant farmer, a blind student at college, a child whose father has been murdered does not make a plot.

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4) An interesting incident that befalls a character: a holdup, an automobile accident, a fire, a drowning, an attack by a mad dog does not make a plot. 5) A series of unrelated incidents that happen to a single character as in the picaresque novel, where the hero wanders about and runs into various adventures and misadventures does not make a plot. 6) A quest for one thing that is attained, only to be followed by a quest for another thing, and so on, does not make a unified plot, but may make a series of plots.
Chapter 9: Complications of Plots

Complications of plot are not a necessary substance of fiction; but they are worth striving for in a narrative of any length. Some devices for creating complications are the following: 1) The plot has several people with mutually conflicting objectives. 2) You can create two or more objectives, instead of just one, for the main character to seek. Thus the hero may be trying to marry a certain girl, gain a fortune, serve his country, and vindicate himself of a false accusation all at the same time.

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3) You can have two or more persons, or groups of persons, with different sorts of quests in the same story. In other words, a story may have a plot and subplots. Thus a love affair of one young woman might be interesting; but adding the story of her sister's love affair going on simultaneously might make the narrative still more interesting. Shakespeare includes subplots in many of his plays; Midsummer Night's Dream consists of at least five series of actions running along together, and having characters crossing over from one to the other. Using multiple plots requires skill because you need to knit together the plots by having characters in one plot be important or influential in the other plots. 4) An apparently insignificant or unimportant character, incident, or object introduced early in the story may turn out to have a tremendous importance later on. Thus, in A Tale of Two Cities, the nurse and Jeremy Cruncher are apparently insignificant characters throughout much of the novel yet they play an absolutely essential part at the crucial moment. In Romeo and Juliet the comparatively trivial incident in which an illiterate servant asks a bystander to read a note for him results in the entire tragedy of the play.
The End
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How to Write Fiction Stories with Substance

*** published by http://www.FreelanceWriting.com

How to Write Fiction Stories with Substance

*** published by http://www.FreelanceWriting.com

How to Write Fiction Stories with Substance

*** published by http://www.FreelanceWriting.com

How to Write Fiction Stories with Substance

Chapter 1: Subjects of Substance

*** published by http://www.FreelanceWriting.com

How to Write Fiction Stories with Substance

*** published by http://www.FreelanceWriting.com

How to Write Fiction Stories with Substance

*** published by http://www.FreelanceWriting.com

How to Write Fiction Stories with Substance

*** published by http://www.FreelanceWriting.com

How to Write Fiction Stories with Substance

Chapter 2: Themes of Substance

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How to Write Fiction Stories with Substance

Chapter 3: Characters of Substance

*** published by http://www.FreelanceWriting.com

How to Write Fiction Stories with Substance

*** published by http://www.FreelanceWriting.com

How to Write Fiction Stories with Substance

*** published by http://www.FreelanceWriting.com

How to Write Fiction Stories with Substance

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How to Write Fiction Stories with Substance

Chapter 4: Backgrounds of Substance

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How to Write Fiction Stories with Substance

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How to Write Fiction Stories with Substance

Chapter 5: Characters of Change

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How to Write Fiction Stories with Substance

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How to Write Fiction Stories with Substance

Chapter 6: Narratives of Substance

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How to Write Fiction Stories with Substance

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How to Write Fiction Stories with Substance

Chapter 7: Conflicts of Substance

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How to Write Fiction Stories with Substance

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How to Write Fiction Stories with Substance

Chapter 8: Plots of Substance

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How to Write Fiction Stories with Substance

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How to Write Fiction Stories with Substance

Chapter 9: Complications of Plots

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How to Write Fiction Stories with Substance

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