Posted on 11/17/2024 4:50:52 AM PST by Lazamataz
I've returned to writing my novel, tentatively titled "Dimensions of Essence". I've gotten somewhat deep into the first act, and I find that my word count is surprisingly low. I tend to be extremely concise. I need to do the opposite of what many authors do... instead of ruthless editing, I need to be more wordy.
I asked ChatGPT what the size of the typical sci-fi novel is, and it replied:
Science fiction novels typically range between 90,000 and 120,000 words. This length allows for the extensive world-building and complex narratives characteristic of the genre. However, some sci-fi novels can be shorter or longer, depending on the story's requirements and the author's style.I'm only at ten percent of the low-end sci-fi novel, so I asked it for suggestions on increasing word-count, and it offered this.
To expand your story into a full-length novel, consider the following strategies:I offer these points to all my writer friends, that you may profit from them in your efforts.By implementing these techniques, you can develop your manuscript into a more substantial work that meets the typical length expectations for a science fiction novel.
- Deepen Character Development: Explore your characters' backgrounds, motivations, and growth arcs to add depth and length to your narrative.
- Enhance World-Building: Provide detailed descriptions of your story's setting, societal structures, and technological aspects to immerse readers fully.
- Introduce Subplots: Weave in secondary storylines that complement the main plot, enriching the overall narrative and increasing word count.
- Expand Key Scenes: Elaborate on pivotal moments, adding descriptive detail and emotional depth to engage readers more thoroughly.
- Incorporate Conflict and Challenges: Introduce additional obstacles or conflicts that your characters must navigate, adding complexity and length to the story.
Sheesh, I fell asleep,halfway through that, way too wordy lol
The “shortest poem ever written” was by I beleive ogden Nash titled “fleas”- here it is
Fleas: Adam Hadem
The hilarious thing is, all said and done, there's no record or recount of Blackbeard personally killing anyone. His crews did but he was a master of P.R. - Oz the Great and Powerful Pirate with his carefully crafted image designed to terrify opponents into surrendering rather than face his supposed wrath and fighting prowess.
And that was off the top of my head from what I've read and documentaries seen. The main character is the hub. What shaped them into what they are today (upbringing, experiences, institutions, interests, etc.)? What's motivating them (mission, drive, habit, love, hate, duress, etc.)? What sets them apart from others (occupation, style, habits, quirks, abilities/disabilities, talents or lack of any of those)?
Some writers I find masters of the craft include Wilbur Smith, Kurt Vonnegut, Robert Silverberg, Roger Zelazny and my current fave Jim Butcher (The Dresden Files). Even that muddlehead Stephen King's talent can not be denied - the man can craft good stories.
My problem is "Cantfinishitus" where I let distractions like real-life problems distract from creative effort. Best of luck to you!
What kind of novels? If they are Sci fi or detective, got a link?
It was a dark and stormy night. A door slammed. A woman screamed.
A shot rang out. (You forgot a shot ringing out. Then a car door slams and tires screech while somewhere a baby cries and a dog barks) I think that about covers it.
"You'll never make it in the entertainment industry!)
Similar to a ‘crime board’ in forensic investigation, I find using cards & illustrations for plots, characters, etc. to be incredibly useful in both guiding my writing and - key to your point - to both eliminate and CREATE tangents.
Better, it’s the same line of thinking, but with a different purpose.
“Havelock’s Inheritance” and “Havelock’s Corpse” are mystery adventure using a Quality Manager as the protagonist rather than a cop or a detective. He’s in desperate circumstances and dead broke. His employer, a defense firm, is taking advantage to force him to do the dangerous work of paying a bribe to a corrupt government inspector. Since I had that job it’s all pretty real, including the arm twisting for the bribe, which happened to someone I worked with. Lots of action.
I’ve read several stories by Elmore Leonard; the ones centered in the Old West. I really enjoyed them, but seems to me, Leonard repeatedly and enthusiastically violated at least two of his own rules.
#8. Avoid detailed descriptions of characters.
#9. Don’t go into great detail describing places and things.
Those kinds of descriptions are two of the reasons I enjoy his stories. Maybe he meant this in another context.
You haven’t said anything at all about mama,
Or trains,
Or trucks,
Or prison,
Or getting’ drunk
Fabulous! Just, fabulous!
Hopefully you will produce an audio book version of your novel “Dimensions of Essence”.
(turns out, none of the Seinfeld transcript sites had this scene, what a PITA)Seinfeld George Turns Down Pilot Deal | 1:33
John Doma | 15.7K subscribers | 14,357 views | June 6, 2017
Please put me on this ping list. After I finish my memoir I want to try to start writing a novel that I’ve had an idea for the past several years.
Thank you, reading the reviews right now- the books sound great- gotta get me a kindle though first- Christmas is coming up, so now,is a good time to get one. 😀
Look at the works of Pat Conroy.
He wrote THE GREAT SANTINI.
Then look at the works of Norman Maclean.
He wrote A RIVER RUNS THROUGH IT.
Both are wonderful writers.
Conroy comes from the European/Southern way of writing.
He writes with great elegance.
Maclean writes with a more Western American approach.
Robert Pirsig called it “Plains Speaking”.
Elegant, but with fewer words.
You have to decide who you are writing for.
Who is your audience?
Write to them.
Speak to them.
And then, good luck to you.
American publishers are run by a clique of people with Master of Fine Arts (MFA) degrees who write for each other.
In my circle of friends, MFA stands for what they really are.
Unless this is an established world with established characters, then a little more description can definitely help bring characters and scenes to life.
When I first started, I used to devote pages to the set up - sometimes in excruciating detail - thinking I was doing the reader a favor by laying out the world. In truth, I was boring them to death.
So now, I start my story with underlying tension (enemy at the gate, fortress has already been sacked and almost everyone is dead, mourners standing around a grave, etc.) and splice in details in between dialog.
One of the best uses of this approach I can recall came from a surprising source: NYT best-seller LaVyrle Spencer in her book Hummingbird. Almost the entire first chapter is devoted to a train being late in a small frontier-style Midwestern town. As each of the residents react to this odd event, she introduces them and the entire town comes to life. Tension builds further when the train pulls in and two injured men are removed - the villain and the hero.
As everyone on this thread knows, the best way to test the material is to take it to someone who is a perpetual critic.
Years ago, I had a young writer come to me very excited about a book she was writing. She asked me to read the first chapter. I was 5 pages in and stopped: I didn’t know what these characters looked like, there was no central latch to how they approached the world, without the latch I didn’t understand their responses, she didn’t even create the stage let alone put a single prop on it.
I explained that it needed more detail because I couldn’t see them. She insisted she knew everything about her characters. “That’s good, but I don’t because it’s all still in your head. You see them clearly when you are reading the pages but you didn’t put any of that on paper.”
You could tell that up to that point, everyone had only given her praise. I’m sure what I said hurt. It’s like having a stranger say that your child is ugly.
I explained how she didn’t need pages of set up, she could sprinkle details in. Her writing improved immensely.
TRANSLATION: I WOULD NOT HIT IT
you have to subscribe, write online and pay regularly for the privilege
—
You must be confusing it with some other application - none of those things are true.
...then a frying pan hit the Floor.
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