by
Sandy Tritt
1. Get it on paper. Once you’ve written it, you can edit it. But until your story is on paper, in black and white, you have nothing.
2. Focus. Write one sentence—yes, one sentence—that states what this manuscript is about. Once you have that, you can refer to it to know if a scene belongs in this manuscript. If a scene doesn’t support the focus statement in some way, it doesn’t belong.
3. Ground your reader at the beginning of each scene. Make sure your reader knows where the scene takes place, when the scene takes place, and who is present in the scene. If you’re using a controlled third person point of view, the first character mentioned should be the viewpoint character for that scene.
4. Know who your narrator is. If you are using the omniscient point of view, your narrator will be an invisible character who is present in every scene, but will not be any one character (although your narrator will have the ability to pop into any character’s head). If you are using a first person point of view, your narrator will be the “I” character. If you are using a controlled third person point of view, your narrator will be standing right next to your viewpoint character and will only be able to see, hear, smell, etc. what that character sees, hears, smells, etc.
5. Act it out. Yes, it’s been said over and over, but it’s still the first rule of writing. Don’t tell your reader what is happening—allow your reader to experience it through action and dialogue.
6. Use active voice. Don’t start a sentence with “there is” or “there are” or “there were” or “there was.” Doing so automatically puts you in passive voice. Instead of saying “there were seven cheerleaders at the mall,” say “Seven cheerleaders shopped at the mall.” Likewise, try to avoid words like “when” or “while.” “When John looked to his left, he saw the army advancing” is passive and has a gawking character. Instead, say: “John looked to his left. The army advanced.”
7. Use the strongest verbs possible. Replace “was” with “moved.” Replace “moved” with “walked.” Replace “walked” with “strolled.” Constantly search for stronger and stronger verbs. For truly, it is verbs that give a manuscript its power. Avoid adverbs—instead of saying “He walked slowly,” say “He strolled.”
8. Use an action or body language instead of dialogue tags. Challenge yourself to replace EVERY dialogue tag with an action by the character speaking. You’ll be surprised at how your story comes to life.
9. Never name an emotion. If you say, “He was angry,” you’re telling, not showing. Let us see him slam his fist on the counter. Let us feel the breeze as he storms by.
10. When in doubt, leave it out. If a sentence makes sense without “that” or “of,” leave it out. Leave out any word or phrase or paragraph or scene or chapter that is optional.
2. Focus. Write one sentence—yes, one sentence—that states what this manuscript is about. Once you have that, you can refer to it to know if a scene belongs in this manuscript. If a scene doesn’t support the focus statement in some way, it doesn’t belong.
3. Ground your reader at the beginning of each scene. Make sure your reader knows where the scene takes place, when the scene takes place, and who is present in the scene. If you’re using a controlled third person point of view, the first character mentioned should be the viewpoint character for that scene.
4. Know who your narrator is. If you are using the omniscient point of view, your narrator will be an invisible character who is present in every scene, but will not be any one character (although your narrator will have the ability to pop into any character’s head). If you are using a first person point of view, your narrator will be the “I” character. If you are using a controlled third person point of view, your narrator will be standing right next to your viewpoint character and will only be able to see, hear, smell, etc. what that character sees, hears, smells, etc.
5. Act it out. Yes, it’s been said over and over, but it’s still the first rule of writing. Don’t tell your reader what is happening—allow your reader to experience it through action and dialogue.
6. Use active voice. Don’t start a sentence with “there is” or “there are” or “there were” or “there was.” Doing so automatically puts you in passive voice. Instead of saying “there were seven cheerleaders at the mall,” say “Seven cheerleaders shopped at the mall.” Likewise, try to avoid words like “when” or “while.” “When John looked to his left, he saw the army advancing” is passive and has a gawking character. Instead, say: “John looked to his left. The army advanced.”
7. Use the strongest verbs possible. Replace “was” with “moved.” Replace “moved” with “walked.” Replace “walked” with “strolled.” Constantly search for stronger and stronger verbs. For truly, it is verbs that give a manuscript its power. Avoid adverbs—instead of saying “He walked slowly,” say “He strolled.”
8. Use an action or body language instead of dialogue tags. Challenge yourself to replace EVERY dialogue tag with an action by the character speaking. You’ll be surprised at how your story comes to life.
9. Never name an emotion. If you say, “He was angry,” you’re telling, not showing. Let us see him slam his fist on the counter. Let us feel the breeze as he storms by.
10. When in doubt, leave it out. If a sentence makes sense without “that” or “of,” leave it out. Leave out any word or phrase or paragraph or scene or chapter that is optional.
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