Download 42 Common Mistakes Novelists Make by Paula Berinstein PDF

By Paula Berinstein

Tale advisor and Writing exhibit host Paula B. offers an annotated checklist of forty two universal errors she sees forever. Divided into characters, constitution, reader engagement, the industry, and mechanics, the object deals every thing from the Tease--the author who will get readers all excited yet does not stick with via, to the Bleeding Heart--the author who will not "murder his darlings."

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You don't have an antagonist. If your protagonist goes through life winning some and losing some but doesn't struggle against a consistent "enemy," you don't have an antagonist. You should. An antagonist doesn't have to be a person--it can be an internal demon, nature, society, a great white whale, but your story will probably be more effective if it is. I recommend that you select a person as your antagonist so readers have someone to hate, fear, or pity. You can be angry with nature or an unfair society or a cracked sidewalk, but a human antagonist is more vulnerable and possesses the potential to be conquered.

Collaborate to produce a scene containing specific items, actors, and action. You need to be all of those people rolled into one. 30. The Mad Dash. You rush through the story. When you rush, you shortchange your readers. One of the reasons writers end up rushing is that they don't realize they're leaving out information readers need. Another cause of rushed manuscripts is a lack of obstacles and complications. Sometimes writers don't realize that the stories they like to read are as dense with complications as they are, so they fail to do what's needed in their own work.

That's a demon. But if you act out that problem by becoming a pathological liar, that's a character flaw. If your protagonist does not have an internal problem, something that's making her life untenable, she will come off as a one-dimensional character. Protagonists without demons just aren't that interesting--at least not in this day and age. , criminals. Internal problems not only make your protagonist more interesting, but they also help us identify with the character because like us, they're vulnerable.

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