We’re getting deep into these now, aren’t we? I feel pretty fancy using Roman numerals beyond a series of “I”s strung beside each other; now I’m using “V”s! Stupidity aside though, if you haven’t read any of the first three parts, I’d suggest you start here. You don’t have to, but since this series is aimed to build your repertoire of skills to liven up your writing, every little bit helps. If you’re too lazy and just want to read this one? Well, that’s okay too. Let’s get started.
Dialogue sounds pretty simple. In a way, it is. Compared to the other points I touched on in this series, dialogue seems far more basic and structural. That’s true, because without good, meaningful dialogue you don’t have a story. The thing is, dialogue is much more than just a boring, structured necessity. Dialogue is something you can use to help your story soar or plummet to the earth. Use it correctly, vividly, and it might even carry your writing (which we don’t want to happen, but still). Use it incorrectly, and no one will keep reading your stuff.
Listen up; dialogue is important.
Not just a little important; dialogue makes your story. Without dialogue, your story is going to read like an essay, complete with mind-numbing blocks of exposition that no one wants to read forever. Without dialogue, you might as well be writing something like this. An article. People read articles to learn something, or to follow something someone did (in the case of blogs in general). When people read to learn, they do want to be entertained, but they’re reading for a different purpose. When people are reading a blog about someone’s life, what happened to them that day, etc, the entire piece moves because it’s a firsthand account of something that really happened. Even though it’s not dialogue, it comes across more interesting because it’s almost as if the writer has sat you down and is directly talking to you about what happened. It comes across stronger than simple exposition.
What about stories though? People read stories for one reason: to be entertained. That’s why fiction writing is so difficult. If you know a lot about a certain topic and you know how to write, it’s not that hard to write something like this; something instructional. When you’re writing fiction, you have to captivate your reader at every turn. You have to keep them guessing, but you can’t confuse them too much. You have to keep the story moving, but not too fast. You have to make the characters believable, but not too believable and boring. You have to make the story more realistic than real life, but still include aliens and vampires.
It is fun, but it’s a juggling act. Society has a pretty short attention span, and you have to make a masterfully concerted effort to keep that focus. It’s not easy. What’s the point behind all this? Dialogue is likely your number one tool in grabbing people’s attention. Exciting, believable dialogue that moves your story along will go a long way towards interesting your readers. How can we create that dialogue though? How can we do it right?
That’s an extremely complex topic. I could probably write a whole new series just on dialogue. Instead, I’ll try to be concise here. I’ll try to highlight a few things that I think are the key elements of successful dialogue.
- Understand your characters.
- Consider where your scene is going.
- Keep it real.
No kidding, that’s it. If you get those three points down, you’ll be a dialogue god. Unfortunately, not many have done that. I guarantee that even the greatest authors of all time still write a scene, read back the dialogue, and throw it in the trash. It’s a constant struggle. That’s not too say it’s hopeless; a lot of the time you can sit down and pound out a scene full of dialogue, read it back, and it’s perfect.
You have conversations yourself, so you know how people talk. When you try to replicate real speech onto the screen it often comes out sounding funny. Still, there will be a lot of times where it just flows. One character says something, and the next replies like anyone would, just like two people in real life. Hopefully you made sure to make their conversation mean something to the piece, but I’ll get to that in a minute. Let’s go over each point in a little more depth.
Understand your characters
The point behind this is that you don’t want dialogue written that doesn’t match your character. If you’re writing the dialogue of a six-year-old, which spoken phrase would he use?
The sound of tiny scampering feet against linoleum made Mrs. Parker turn towards the noise. Her little one latched onto her leg—almost causing her to fall—and whined, “Mommy my tummy hurts!”
Obviously the first one doesn’t fit, unless little Timmy was abducted by aliens where they injected arcane knowledge into his little brain before laying him back in his bed. That’s the point here, dialogue needs to mirror your character’s motivations, goals, and personality. If you understand your character inside and out, you won’t make as many mistakes when you’re writing their dialogue.
If I could choose any of these three points to pick out as being the most important, it would be this one. I can get over a line of dialogue in a story that doesn’t have much purpose being there, or sounds a little contrived when I read it aloud, but when a character says or does something that just plain doesn’t fit them? That annoys me, and unless I’m really absorbed in the writing, I might not keep reading. Still, this is only one point. They’re all important; especially this next one.
Consider where your scene is going
This point is actually too simplified. Not only do you want to keep in mind the direction of the scene, you also want to look at the big picture. I’m talking about the plot, theme, and direction of the entire piece of writing. Dialogue in the first chapter might connect to something at the end of a book! Read the example below and keep in mind that this dialogue is placed a story titled… “A Shadow In The Deep” (if there is a real book called that, woops).
The smell of booze and saltwater drifted about the sleepy tavern, old neon lights above the bar humming a peaceful tune. A ratty old man, weathered and grey by the raging seas took a swig of his bottle and said to a man across from him, “Went out yesterday an’ caught me a whole mess of cod. Should have seen the nets full to bursting, ha ha!”
The smell of booze and saltwater drifted about the sleepy tavern, old neon lights above the bar humming a peaceful tune. An old man sat across from another, terror fixed on his wrinkled face as he whispered to the man across from him, “I think my days on the sea are over, Ted. Have you seen it? That thing? I swear, I saw it! Sliding beneath the waves, bigger than a whale! Someone’s going to get killed by that monster, mark my words…”
This one isn’t as obvious as the first examples with the little boy. There’s believable dialogue in both of these, and each example stays pretty true to a discussion between two old seadogs over a pitcher of ale. The difference here isn’t that one of these examples is wrong, it’s that the second one has a purpose being in the story and the first doesn’t.
There’s nothing wrong with a casual conversation between fishermen talking about their haul, but what does that tell the reader about the theme of the story? How does that move the story forward? It doesn’t, but when we read the second example, we see that one of the men is haunted by something he saw. He warns his old fishing buddy about what he thinks is out there, beneath the waves and waiting to strike, as he believes. When we read that, we’re given a glimpse of what’s to come. It creates suspense in knowing that as we read through this story, we’re slowly getting closer to learning the truth and meeting this monster face to face.
Don’t you agree that the second example accomplishes more, considering where the scene and story are going? This is a more difficult point, because we don’t want to load every line of dialogue too heavily with plot information, but we need for our dialogue to serve a purpose. Even if two of your characters have a casual conversation, it should serve a purpose, even if that purpose is just making the characters more comfortable around each other. Perhaps they shoot the breeze about sports in chapter three, and end up falling madly in love in chapter eight? The first small conversation served a purpose, and that’s the idea here.
Keep it real
The focus behind this point is pretty simple. We just want our dialogue to be believable. We want to be able to see the characters in front of us, and hear what they’re saying. That’s a difficult task you have as a writer, in that you’re trying to make words come across as visual. When your reader can picture what they’re reading clearly in their mind, you’re doing a great job. How can dialogue lend strongly to this, though? Lets look at another example.
The slam of the door echoed through the house, shaking the walls as a woman stood facing the blocked doorway and said, “Abbie, you need to calm down. Open the door.”
“No mom,” Abbie replied. “You don’t understand me. I don’t want to talk to you.”
The slam of the door echoed through the house, shaking the walls as a woman pressed herself up against the doorway and pleaded, “Abbie! I’m sorry, I just want to talk, please! I love you…”
“You love me? You make me sick!” Abbie screamed back, her voice muffled through the thin walls. “You just don’t get it. Leave me alone!”
Do you see the difference this time? There’s nothing especially wrong with the first example. The dialogue stays true to the feelings of both mother and daughter, and it has a purpose. The problem is that it’s weak, robotic. Phrases like “You don’t understand me. I don’t want to talk to you.” tell the reader what’s going on and how the character feels, but they don’t sound natural. When you read that, you feel like you’re reading dialogue, not hearing it. It doesn’t flow like dialogue should.
In the second example though, it’s different. The dialogue is moving, active, raw. It fits the characters and progresses the scene, and it also sounds like a real argument between a teenage girl and her mom. You can feel the emotion here much more strongly than before, and because of that it’s much easier to hear it in your head as you read.
That’s the key behind this point: you want the dialogue to sound real. You don’t want your reader to read it; you want them to hear it. When your characters speak, it should sound as natural as if they were right in front of you having a conversation. How can you accomplish this? Well, it isn’t really that difficult. You’re human, you have family and friends. You talk. You know how people interact and converse, and when you create dialogue, you’re trying to mirror that. The subject of the written words can be anything, but the naturalness you hear in everyday speech needs to carry those written conversations. Beyond that, just read your dialogue aloud after you write it. If it sounds funny, you’ll probably hear it.
I hope all of that wasn’t too much information at once. Dialogue is an extremely deep and complicated process, but at the same time it’s very simple. There are a lot of ways to make your dialogue hit harder, but in the end, the KISS (keep it simple, stupid) policy works just as well. If you’re doubting some dialogue you’ve written, just ask yourself three questions mirroring the points above.
- Would my character say that?
- Does this dialogue serve a purpose?
- Does it sound natural?
If you can’t answer yes to all of those questions, odds are you should probably work on the dialogue in question till you can.
Thanks for reading. If you didn’t notice, this is a two part installment, so keep your eye out for part B of the dialogue discussion. Also be sure to check out any parts of this series that you missed!
- Breathe Life Into Your Writing! Part III: Symbolism
- Dialogue – a powerful tool! (madgeniusclub.com)
- Writing Believable Dialogue – 1. Less is More (bardicblogger.wordpress.com)
I started this blog thinking a post a day wouldn’t be too bad. Up til this point, I’ve done alright, but that pretty much stems from the fact that I have way, way too much time on my hands.
I’ve been doing a lot though, lately. I’ve been “busy”. I still hold a relatively high standard to what I post here, but since I almost always post something up everyday, sometimes the standards slip. Like today? The standards flew out the window. Not only have I been writing doing some freelance blog writing, I spent today working with my dad. While the man’s colorful vocabulary might be inspiring to some, it doesn’t make up for the time I could have been writing.
That sounds kind of silly in retrospect. I got out of the house for once, had an honest day’s work, and made some money, but it just wasn’t creative. I could have sat down, written a handful of blog posts and made the same amount of money (okay, less). Even writing articles about things that don’t necessarily inspire me still feels creative. I’d rather be investing more time into my projects, but those aren’t making any money. Someday they will (hopefully).
So while my posts these days might not suffer, I’m getting them off later and later it seems. Yesterday’s post came after 6pm Hawaii time. That’s way too late for everyone else. I’m not even done writing this and it’s nearly 10pm. These posting times aren’t helping statistics and aren’t attracting new readers. It’s just too late for people. Still, better to get them up than not at all, right? …Right?
Anyways, I’ll shut up now. Tomorrow I’m aiming to not only focus on some story writing, but also putting together another article for a job and an insightful post for you guys.
Wish me luck? Right, no such thing. Let’s just hope I wake up before noon.
Following this current trend of me humbly asking you (yeah you—I see you there) what you think about this blog, I wanted to pose a more interesting question this week. Nothing too difficult, but I think it’s a fun topic.
What inspires you?
It can be a song, an author, an artist, a place, anything. Inspiration comes in every form, and part of being a successful artist (of words, paint, or whatever else) is knowing how to absorb that inspiration! I’ll admit it can be hard, especially when you just aren’t in a creative mood, but I’ve compiled a few tips on how to get those creative juices flowing.
- Listen to music: Maybe even music you don’t usually listen to. Check out new stuff—it may stir up new ideas in you!
- Watch movies: You might feel like a lazy schmuck, but visual stories are powerful tools of inspiration!
- Move: I’m not talking about moving states or houses, just move! Absorb your environment, even if it’s made of brick and stone.
- Read: This one kind of goes without saying. You don’t need to copy things, just absorb the ideas and life within your favorite author’s books and let it spark your imagination.
- Browse through art: Sites like deviantART have amazing artists! Just browsing through the galleries is a great way to come up with new ideas.
- Live: No, I don’t mean that in a touchy-feely sense. I mean just let your everyday life inspire you. Fictionalize your world!
Those are all pretty basic tips, but I think they’re the most useful things you can do to get inspired short of just sitting down and thinking! Sometimes that’s the hardest thing to do, but never downplay your own ability to craft your very own ideas through good old brainstorming. Some people take a notebook with them everywhere they go, jotting down ideas when they get flashes of inspiration. I personally don’t, because while I can’t remember other things, my mind is a trap when it comes to any writing idea that pops up. Still, find what works for you. You don’t want to forget something important!
Something I find useful is capitalizing on your inspiration sooner rather than later. If something happens, or you see or hear something that inspires you, write about it quick! I just went through hell dealing with a computer virus, and it inspired me to start on this crazy techno-thriller. It’s a big project, so I didn’t bite off more than I could chew, I just started on it. That’s what I’m suggesting. If your mind is ticking, telling you what to write, write it! You don’t have to finish it, just get those ideas on paper, even if you just throw down a rough first chapter; it still gives you a base. I’m the same way with my poetry. I don’t focus on poetry—it’s just a hobby for me. When something hits me—inspires me—I write a poem about it. It doesn’t take long, and it doesn’t take too much effort when I’m feeling inspired. I also think that if you have a poem written up, you can always use it as a basis for something bigger in the future (if you end up going that direction).
So what inspires you? Who inspires you? What’s something of yours that you’re proud of that just… flowed? When inspiration hits hard, sometimes you can quickly crank out some amazing work. Has that ever happened to you?
Be sure to leave a comment!
As you can see above, I decided to ask you all a question. Why do you come here? I’d imagine usually by accident, woops! But if you did happen across my humble little corner of the web, what made you check it out? What makes you come back? Maybe it’s as simple as wanting something to read, or maybe it’s as serious as learning from the the tips and tricks I write about. Do you enjoy my writing; my fiction or my articles? Anything!
So don’t be shy, lazy, or difficult. Just click one of the options and press “vote“. If you’ve got a more specific reason, go ahead and type it in, or leave a comment here. I love to hear from my readers, and it’s nice to hear what people actually find interesting to read about here. Maybe the results will sway me to focus on certain aspects of the blog a bit more.
Thanks for reading everyone!
I had a fun morning today, and my work still continues. A rather nasty virus attacked my writing laptop (the one with my life on it, y’know), so I’ve been frantic to get it working again. Thankfully I think I’ve got it under control, and I also snagged a little job this morning, so I decided to sit down and tell you lovely people about a publishing opportunity I came across today.
A weird one.
Obsolescent.info has an open call out for short stories. About what, you ask? About octopusses—er, octopi. I kid you not, this little press is working up an anthology of short stories focused on our aquatic eight-legged friends. Odd? Yeah, it is, but it also sounds like fun, doesn’t it?
This company is offering 20 bucks for each story. They need 10-15 of them, and they’re looking for stories about 1000-7500 words long. As for the contract, it looks like they’re only claiming non-exclusive rights, so basically they’re allowed to do what they want with your work, and so are you. What genres are they looking for? Well, basically anything. No kidding.
That’s about it. If you’re interested or just want to find out more, check out the page for submission guidelines below!
Today I thought I’d talk about a cool little forum with a laid back attitude: A Fever Dream.
The place is brand new—as in, it just started up this week, but there are already over 60 members. It’s close-knit and active, and whether you’re a comic artist, classical artist, or a writer, everyone is cool and constructive. Basically, if you’re looking for fair critique and honest opinion, you’ll probably get it here, and fast. Just be sure to spread the love.
In addition to feedback, you’ll find helpful resources, previews into the current projects of talented artists, and all sorts of contests. Currently there’s a “Draw Everyday” thing going on come February, a writing contest using prompts that’s going on right now, as well as an open call for a forum banner/header. All in all, the forum has a focus on creativity and fun. You’re not going to find that same easygoing, pleasant attitude on other large sites.
That’s about it—hope to see you there!
Usually I’m never at a loss for word when it comes to writing. If you frequent the blog, you’ve probably noticed that I tend to go on and on and on and… well, you get the point. Even if I may give some people headaches, that long-winded quality I have is a blessing when you’re a writer. You can always edit yourself. You can’t always pull new things to write out of your arse. (Unless you’re far more talented than I.)
In any case, let’s talk about blogger’s block today. Is that a real term? Beats me—I just made it up. I’ve heard the comment “fiction writers are terrible blog writers” again and again, mostly spammed on twitter by someone who tweets “writing tips”. I didn’t agree. Heck, I still don’t agree. Fiction writers are the best writers anywhere. Not only can they write their butts off, they have the imagination to back it up! I don’t post a whole lot of fiction or writing on this blog; I mostly post tips and lessons off the top of my head for my lovely readers. If you’re new to the blog, I’d suggest you follow and/or check out my Breathe Life Into Your Writing! series. I’m not gonna link it or shove it down your throat, but it’s there if you wanna check it out. It’s pretty helpful if I don’t say so myself.
In the end, I think everyone gets blogger’s block. I post something everyday. It can be tiring, especially when I forget to all day and then throw something up at 6pm (which coming from Hawaii is much later anywhere else). Those days certainly don’t get me many hits. So how do you keep up on things, keeping them fresh, useful, FUN? Beats me, I’m flying by the seat of my pants. Since this post should be useful and informative, I’m gonna take a step back and link people who know more than me. Believe it or not, I do not know everything (can you believe it?), so occasionally I should leave it to the other know-it-alls. They need love too.
As you can see, blogger’s block is a serious thing, and a real term (I just found that out). So to take a tip from those articles, I’m gonna ask a question:
What do you guys want me to write about?
I’d honestly love to hear. The comments box is right down there, just scroll… click… type. Did you do it? Attaboy/girl!
That’s all for now. Have a nice weekend everyone.
Today I thought I’d try my hardest to be brief, yet helpful. I’d like to set the spotlight on a little site who both publishes stories online, via e-book, through a weekly review subscription, and also appears to be interested in full novels. Who are they? Katherine Press.
If you don’t feel like checking out the site, I’ll say that their market is that of chick-lit and anything pertaining to girls and young women. Their site looks so nice and cleanly put together that a part of me wants to submit something too, but… well, chick-lit isn’t my thing. I think I would crash and burn, but maybe you wouldn’t! They’re looking for everything from poetry and short stories to personal essays and full length novels.
They offer to pay flat-rates for the various types of submissions. They don’t advertise what those rates are on the site from what I can tell, but their email is there on the site and I’m sure they’d be happy to answer any of your questions. They also are giving themselves a six-week window before they reject or accept your work, so be patient.
Hope it goes well for you if you decide to take a shot at submitting something. Be sure to tell me what you think or have experienced with this company too!
In this installment I’m going talk about something a little more… epic. Like personification and metaphors, this tool will go a long way towards giving something bland and boring new life. What’s different about it, though? It’s far more difficult to pull off, unlike the relatively simple practice of using personification and metaphors. What is it?
I think this concept makes a lot of newer writers nervous—like they want to use it effectively, but are afraid that they won’t be able to execute it correctly. Those concerns aren’t unwarranted. There are certainly simple uses of symbolism that you may have already used without thinking, but creating lasting, powerful symbols that carry through your writing is another story.
Because symbols are so… symbolic, it’s easy to turn them into clichés. Clichés are something you want to avoid as a writer. Some people like them, and I’m one of the few that believes they can add to a story with careful thought, but that’s another topic entirely. The point is, symbols can easily become clichés. Why should we avoid that? We’ll get to that a little later. For now, let’s look at some examples of simple symbols.
A man wearing pastel colors with a wide smile on his face.
The permeating smell of death inside a dreary old mansion.
A crusty pile of bones deep in the woods.
These are all pretty simple, and that’s the point. You probably wouldn’t think twice about any of these things as you read them within a story, but they are indeed symbols. The first would immediately tell you the pleasant, sunny demeanor of the man (unless you use it as an oxymoron, and he’s really an axe murderer). The second paints an immediate picture and mood behind a very scary venue. If a mansion smells like death, it’s not a very nice place. The third example is the most obvious use of symbolism. If your protagonist finds a pile of bones in the woods, it immediately tells him that he’s in a dangerous place. It creates suspense.
Did you notice? Each of these symbols have very different effects! The first might tell the reader about someone’s character (or create suspense if the symbol is an oxymoron), the second paints a better picture of the mood and setting, and the third primarily creates suspense, as well as telling you the mood of those woods. That’s the thing about symbols; they can achieve a variety of effects in comparison to the other writing practices I’ve highlighted in this series. While a metaphor might just make your reading a little more interesting, and might help set the mood a little but, even the smallest, subtlest symbols can paint a picture of your story in very graphic ways. That’s why it’s easier to mess up on them!
But how about bigger symbols? Ones that stretch far across your tale? Those are the most difficult to use to perfection, because they usually go a very long way to conveying two very important qualities to your entire story.
The first is mood and setting. Usually mood and setting only apply to one scene. The type of words you choose within a scene go a long way to telling the mood. If you employ verbs like “sweeping, drifted, ebbed, murmured” the mood of the scene is quite clearly slow, dreary, measured. It’s probably building suspense and leading up towards actions. If you use verbs like “snapped, bolted, snatched, barked” the mood of the scene is frantic, urgent, intense. As you can see, your word usage tells the mood of one particular scene.
Setting is a bit different, and not so straightforward. It’s up to you and your skill as a writer to paint the picture of your setting correctly. Setting directly relates to mood, and vice versa. If you write about a dark, scary tunnel full of ghostly whispers, the setting is going to make the mood scary. You can tell why setting is important now, can’t you? If you create a lackluster image of the setting, the reader probably won’t be able to interpret the correct mood, or a mood at all! If the reader doesn’t feel the mood of the scene, it’s very hard for the words on the page to draw them into your writing.
How can powerful symbols carry both setting and mood across your story, though? Well, that usually goes hand in hand with the theme of the story. Theme generally is a wide-stretching mood cast upon your entire story, but it also directly relates to the conflict and goal, beginning and end. It also makes up the entire message of the story. It tells the reader why the story is what the story is, as well as the purpose of the story. Before I create a few examples, look at a powerful use of symbolism in a famous piece of fiction.
In A Sound of Thunder by Ray Bradbury, a butterfly is stepped on far in the past by a time traveler from the future. That small death changes history in a drastic way. Where’s the symbol there? Well, it’s the butterfly. That seemingly small symbol highlights a powerful theme of change. That tiny, insignificant insect changed everything, and placed a fierce level of guilt upon the person who stepped on it, and that guilt goes a long way to setting a very dramatic mood. Pretty epic stuff, right? Doesn’t it make you want to think up a powerful symbol for your own story?
Let’s look at some examples now. Open your mind and let your creativity flow! I hope these can stir up your imagination. Focus on the structure of these—how they work—and then sit down to think up some powerful symbols of your own!
Deep in the blistering Sahara, a spelunking hero battles murderous smugglers within looming desert caves. A sandstorm howls a violent tune as the combat ensues. The protagonist fights valiantly, and bests the thieves as he blows the entrance to the cave shut with a bundle of dynamite, entombing them with their ill-gotten treasure. As he steps back onto the blistering desert sands, the storm dies down and rain begins to fall.
A withered old man sits on the porch during a nice big family reunion… except it’s not nice at all. His children and grandchildren bicker like kindergarteners. He tries his best to keep the peace, but his words fall on deaf ears as grudges and rivalries lock in the negative mood. Sat upon his old wicker chair on the porch, he watches the tranquil, trickling creek in front of the house. Since his childhood, he’s played along the bank of the gentle stream, but now the feed of clear crystal water is stopped up and dirty. Taking a long deep breath, he thinks on a kind and happy past before passing on.
As you can see, these examples aren’t short little sentences. They aren’t simple visuals that portray a mood or help paint a better picture of a setting. These larger, stronger symbols can be literal or figurative—usually both. They can be embodied in a concrete object or something more ethereal; maybe an emotion, or a state of affairs, or even a spoken phrase. Something that almost always makes up that symbolic connection is a visual (or perceivable) symbol directly connecting to a figurative message. Let’s pick each of the examples above apart and see how they utilize symbolism.
In the first one, we have something like you’d see in an Indiana Jones flick. You might think that in a story involving so much action, there isn’t a whole lot of room for symbolism. Well, that’s not exactly true. When you’ve got lots of action, there might not be a great deal of room for deep, thoughtful symbols. They don’t always fit into a fast paced, action-packed tale. That doesn’t mean these kind of stories need to be devoid of strong symbols though. In the example above, I used weather as a symbol.
I think we can all think of a movie we saw where rain poured down as the protagonist cried or dealt with some saddening emotional situation. That’s a very cliché symbol to use. Like I said above, we should generally avoid clichés. They’re predictable and they can very easily make your story boring. That’s why I personally dislike the vast majority of romantic comedies. The symbolism and structure is usually very “cookie-cutter”, and that’s basically just another word for cliché. When a romantic comedy like 500 Days of Summer comes along, I’m pleasantly surprised. That one broke down certain walls and did a great job at finding originality within a genre that’s been beaten to death, but I’m straying from the point.
In my action story example, while the protagonist battles the bad guys, a violent sandstorm rages outside. The wild weather mirrors the action the hero is involved in within the caves, and once he comes out victorious and back into the desert, the storm dissipates and turns to rain. I took the old rain cliché and gave it a twist. Instead of the rain symbolizing pain and sorrow, it’s an emotional release. A washing, peaceful symbol contrasting the frantic, stressful scene that made up the rest of the story. It’s a happy ending, and it allows the reader to set the story down feeling good. Cliché? A little bit, but it works. Never underestimate the power of a soothing happy ending. I might enjoy and write stories with a darker, emotional undertone, but that doesn’t mean happy endings are all bad. You just have to figure out what fits your story best.
In the second example, we have a very different use of symbolism. It’s a very reflective story, and the theme underlying is that of change. The protagonist, the old man, is surrounded by stress, bad feelings. He’s thinking back on his childhood; on happy times when that stress wasn’t there. The symbol here is the creek he played around as a child. While times were once tranquil—just like the stream—now they are stressful and dirtied up. As a reflection of that, the creek is now stopped up and tainted. The theme entails change of situation and a change of times, and the symbol of the creek plays a powerful symbol between those things.
So, now that you’ve seen some examples of symbolism, do you think you can put them into your story? It takes a bit of effort creating those powerful links and ideas, and even more effort putting emotional strength and visuals behind your symbols, but if you understand your story on a deep level, the symbols will almost create themselves.
Unlike the last two chapters of this series, there’s no exercise to test out your skills this time. Instead, post a comment telling about a symbol you’ve used in your writing before, or one that you’d like to use now!
Be sure to check out the first two installments of the Breathe Life Into Your Writing! series in the links below if you haven’t read them yet! Stay tuned for the next part, where I’ll talk about… dialogue!