A blogging colleague recently looked at some ways in which the setting of a novel could become so dynamic as to be a real character. I would like to expand upon that idea, because just as you want every character to be deep and three-dimensional, so it would be a shame to waste the opportunities setting gives you to deepen the whole story. The Gormenghast Syndrome In Mervyn Peake’s off-beat trilogy, the eponymous castle of Gormenghast might be said to … Read More »

As we all know, point of view (POV) is the personage from whose perspective we readers perceive the action of the novel. Back in the nineteenth century, authors tended to go for the “omniscient narrator” — a disembodied, god-like voice that took no personal part in the action, that could see what was in the heart of everyone, could see what the villains were up to behind the protagonist’s back, and could see what everybody looked like. Could see, in … Read More »

I’ve been reading a novel (nameless here forevermore) that I’m pretty sure is meant to be an allegory. The characters are flat, they commit highly improbable actions, and the only backstory we get on them is in the form of interminable stories-within-stories that don’t illuminate anything about their personality. Reviews have called this author a genius, so I guess I’m wrong. But I don’t enjoy it at all. I have to make myself keep reading because the book was a … Read More »

We all know that writers fall into one of two groups: the Plotters, who lay their entire story out methodically in advance, often using a formal outline; and the Pantsers, who fly by the seat of their pants, letting the story unfold as they write, perhaps with the aid of a few notes. Neither method is better than the other. It depends on the personality of the writer — some people are orderly and want to be in control. Others … Read More »

We all want our book to crackle with excitement, to race to the finish so breathlessly that the reader can’t put it down. But we still need enough emotional and physical description to make her care about the characters. Just as we’re always told to show rather than tell in our narration, we need a certain amount of showing and telling in a dialogue scene. Every author has a different balance, and that’s part of what makes up their style. … Read More »

What is more disappointing than reading a good book—maybe even a first-rate page-turner—and then having the ending fall flat? I recently had that unpleasant experience with a work of a quite renowned author. The result was that I was left with an unsatisfied taste in my mouth as my final memory of the book, which otherwise I would have recommended. Think of an Olympic gymnast: she may perform like an aerial pixie, but if she stumbles on the landing, her … Read More »