Tag Archives: tense

Nov 03

Mary Deal Dishes on Dead Words

Dead Words
Mary Deal

Write lean!

When I began to scrutinize my writing for words I could cut and still keep the story together, I was surprised! In the interest of keeping my stories lean and to the point, I found I could drop modifiers and make my sentences more professional.

Sometimes we want to add a word or two, seemingly to deepen the meaning of an act or some bit of dialogue. This is where many writers ruin their stories. For example:

She was so very ecstatic!

“So” and “very” are modifiers that needn’t be used in this sentence. The word ecstatic is the height of elation, the nth degree. The word needs no modifiers.

She was ecstatic!

Three little words that say exactly what I meant it to say without being verbose and taking up word space in the story that could be put to better use.

Another word is “just.”

– It was just that he wanted to go and she didn’t.

– The problem was that he wanted to go and she didn’t.

Drop the modifiers even if you must rewrite the sentence. Notice, too, that the corrected sentence doesn’t begin with “it,” which has no meaning when used this way. “It” has no meaning at the beginning of a sentence until we know what the sentence is about.

“It” can begin a sentence, usually inside a paragraph, when what is being referred to has already been mentioned.

Another example of dead words or overuse is the word “had.”

When writing in 3rd Person or past tense, it’s appropriate to use the word early in a paragraph. The rest of the paragraph should not contain the word “had.” Had sets up the paragraph in past tense. Only occasionally will there be no way around it and you must use it twice. Used early in the paragraph it sets up the tone of the action, even through subsequent paragraphs.

More dead words appear at the beginnings and ending of sentences.

-Where are you at?

-Where are you going to?

-That they could not have known, they took a chance anyway.

-They came running around the corner.

In some cases, your characters may speak like this, but sentences such as these should not be part of the narration. Unless we know to what or to whom these particular words refer before using them, they are out of place and make the subject of conversation obscure.

Please visit Mary Deal’s website for more wonderful articles like this one: Write Any Genre. Read More

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Aug 18

“Choosing a Point of View”…Important Advice from Mary Deal

Selecting a point of view for your stories is the first step in finding your “voice” in writing.

When you begin to write a story, whether a short story or a novel, you first need to know from which point of view (POV) the story will be told. You can always change this once the story is written or just doesn’t work out the way you had intended, but it’s best to plan from the beginning.

You cannot successfully write a story unless you’ve chosen your point of view.

1st Person POV – The story is told through the mind of one character. 1st Person is also used when the author is telling a story or nonfiction experience from his or her own POV. When writing this way, what unfolds in the telling can only be what the point of view character perceives. The author cannot provide a point of view from another character’s mind.

2nd Person POV – The writer speaks directly to another character using “you.” 2nd Person is the least favored and most difficult point of view to use in fiction. The reader then becomes the protagonist; the hero or heroine. Joyce Carol Oates writes in 2nd Person.

3rd Person POV – Stories are usually written through the main character’s POV. Use 3rd person to replace the tightness of 1st and 2nd Person in a story. 3rd Person can be broken down into varying styles of points of view. Here are three:

• 3rd Person Limited – This means that the entire story is written from the main character’s POV and everything is told in past tense. The reader gets to know only what the main POV character knows. I find this stimulating because it can hide the obvious and keep the climax a secret till the riveting ending. This is the POV that is easiest to read and is readily accepted by publishers.

• 3rd Person Omniscient – The narrator takes an all encompassing view of the story action. Many points of view can be utilized. This can be quite an intricate way to write because too much detail needs to be included and may over-complicate the story. A poorly written omniscient story may inadvertently give away the ending thereby deflating a reader’s enjoyment. A well-written story in this POV was And then There Were None by Agatha Christie.

•3rd Person Multiple – The story is told from several characters’ points of view. This has an effect to heighten drama and action if successful at writing from multiple characters’ points of view. Tony Hillerman’s Coyote Waits is a perfect example here.

No set rule for points of view applies when writing. A writer usually sticks to the POV that feels comfortable.

If you are a beginning writer, try writing several paragraphs, including dialogue, from each POV. You will know immediately what feels right for your way of storytelling.

I suggest you stick with one character’s POV to begin with. Even successful writers risk giving readers whiplash when pinging back and forth between points of view.

Nora Roberts head-hops but does it with such skill the reader barely notices the jumps.

Once you have established your favored POV, get busy writing your story. Your “voice” will develop as you write. “Voice” is your storytelling ability; it identifies your style.
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