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August 8th, 2011 (09:02 PM).
It's "I Come Anon"
Join Date: Feb 2008
Location: Northern Virginia
Quote originally posted by
Mine: Treat all of your characters equally, whether protagonists or antagonists, or whether heroes, villains, or the little people. Treat your world realistically. Don't make one character's life living hell while you pretty much throw roses onto another character's path. In more general terms, giving a character too much luck will make them seem 'sue-ish', while never giving a character a break will seem like you're either bashing or picking on them. Both can cause a reader to lose patience with a story, especially if they happen to a main character.
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You're on to something, especially in regards to preventing Sue-ish-ness, but I wouldn't go so far to say that you should treat your characters "equally." I would say "reasonably," instead. I think that when applied correctly, obvious disparity between the amount of luck that two characters have can create drama (the good kind!), but only if the author makes it an interesting part of the story instead of just an accidental artifact of Sue-ish characters. As an example, it often seems in
that Ron has gotten the short end of the stick when compared to Harry (especially when it comes to money and popularity), but Rowling makes sure that it never goes overboard, and she makes the jealousy an important and interesting part of Ron's character.
And now for my own advice:
(and others have occasionally pointed out)
that I have a problem with telling as opposed to showing. For a long time I just didn't know what to do with the advice "show don't tell," but now I think I'm finally getting better at it.
(Maybe. Don't hold me to that.)
What I've found helps me in this regard is while proofreading to recall which passages are supposed to make more of an impact on the reader, and then look over them and try to picture just what kind of feelings and sensory impressions the reader will get from the
. If something seems dry or passes too quickly, embellish it. There's always a disconnect between the vivid scene in your mind and what the reader will get from the words, so try and put as much of what makes the vision in your head vivid into your language as possible.
Imagery is the key, and it doesn't just mean what things look like. Imagery is any kind of language that appeals to the senses, and that includes sound, smell, and touch.
My chapter fics:
Kanto: The Disputed Frontier
- 14 chapters, indefinite hiatus.
Gary Stu's Unpredictable Adventure
- 8 chapters, completed.
- 7 chapters, ongoing
There's Always Tomorrow
A Matter of Stubbornness
Left by the Roadside
(SWC 2011 1st place),
Giovanni Destroys the World and Everything in It
By What Right?
(SWC 2013 1st place),
Back in the Day
(SWC 2014 1st place)
Family (kind of?):
Strange person who calls me strange names
If the pen is mightier than the sword, the keyboard is mightier than the ICBM.
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