Feel Quotes
Categories
Authors
Professions
Nationalities
About
Author Index:
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
Nancy Kress
American
January 20, 1948
Writer
Conflict drives fiction; no one wants to read a four-hundred-page novel in which everything rolls along smoothly.
Nancy Kress
Tags:
Which
Everything
Read
The process, not the results, have to be the reason a writer writes. Otherwise, creating a four-hundred-page novel is just too daunting a task.
Nancy Kress
Tags:
Just
Too
Reason
You have considerable choice in how you end your fiction. For all stories, the basic rule is the same: Choose the type of ending that best suits what's gone before.
Nancy Kress
Tags:
Best
You
Your
Exposition has legitimate uses. It's the most efficient way to summarize background information, including necessary information about a character's history. It can set the stage well for a major dramatized event.
Nancy Kress
Tags:
History
About
Way
Surreal fiction is a sophisticated art form. Events happen divorced from conventional logic, as events in a dream may happen. But unlike dreams, everything in the story contributes to an overall coherent point, impression or emotion.
Nancy Kress
Tags:
Dreams
Everything
May
Novels have much more space than short stories, which gives you more leeway with the number of characters you can include. Even 'furniture' characters can be described and given speaking parts to develop background or atmosphere.
Nancy Kress
Tags:
Space
You
More
For commercial books in a genre, readers' and editors' expectations may be fairly rigid. Some romance lines, for instance, issue fairly detailed writers' guidelines explaining exactly what must happen in a book they publish (and what must not).
Nancy Kress
Tags:
Some
Must
May
If you're writing a thriller, mystery, Western or adventure-driven book, you'd better keep things moving rapidly for the reader. Quick pacing is vital in certain genres. It hooks readers, creates tension, deepens the drama, and speeds things along.
Nancy Kress
Tags:
You
Things
Better
Your opening should give the reader a person to focus on. In a short story, this person should turn up almost immediately; he should be integral to the story's main action; he should be an individual, not just a type. In a novel, the main character may take longer to appear: Anna Karenina doesn't show up in her own novel until chapter eighteen.
Nancy Kress
Tags:
Just
Up
Your