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Can the fundamental principles of non-fiction writing apply to fiction?

by Philip Yaffe

I've never written fiction and never intended. My 40-year career has been in journalism and marketing communication. However, a few months ago someone who had read my book on exposure (non-fiction), written and spoken contacted me to ask if he could help her with some fiction projects. I am inclined to say no because I could not really see what my kind of writing has to do with it. By chance, a couple of weeks before I had found with a compilation of comments on the statement by the noted novelist and was beaten by the similarity of what they had to say and what I say. So I decided to give it a try.

The lady asked me to look at a novel he had written some years earlier. First, the prologue will be discussed the novel according to some principles and practice of expository writing, and then see how it was revised.

But first, What are these principles? There are really only three. However, if properly understood and applied, covering most writing situations, both creative and expository.

A. Clarity in Principle

Be clear, not a matter of personal appreciation. According to the principle of clarity, to be clear that it must do three things:

1. Emphasize what is of key importance.

2. To emphasize what which is of secondary importance.

3. Delete what is not important.

If you follow the formula, before starting to write first must determine what is of key importance, ie what are the key ideas you want your readers to take from the text?

This is not always easy. It is much easier to say that everything is of key importance, so it puts into everything he has. However, unless you do the work to define what they really want your readers know not to do it for you. They are simply lost in the text and either resign or leave the other side without knowing what they have read.

A then you should be sure to play down what is of secondary importance. Why? Because if you want your readers to recognize and retain key ideas, I do not want to get lost in the details. Details (information of secondary importance) explain and support key ideas. Never overwhelm them.

Finally, must eliminate what is not important. Why? For any information that adds nothing to the explanation and support key ideas that tend to obscure they. This is exactly the opposite of what you want.

B. Conciseness Principle

According to the principle of conciseness, the text should be as:

1. Long as necessary

2. Shortest

"As long as necessary" means covering all the key ideas you identified under "clarity, and all information of secondary importance needed to explain and support them. Note that nothing is said about the number of words, because it is irrelevant. If it takes 500 words to be "as necessary" 500 words should be used. If it takes 1500 words, then that's fine, too.

"As short as possible" means being so close to the minimum as possible because all the words beyond the minimum tend to damage clarity. Subconsciously, readers will continually trying to understand why those words are there, and will continually failing because they serve no purpose.

Anything that does not add the text, is subtracted from it.

C. Density Principle

According density with the principle that the text should contain:

1. Accurate information

2. Logically linked

Using precise information media clarity. For example, if you say it is "hot" day, what do you mean? A reader might interpret hot to 24 ° C, while another might interpret is 36 ° C. However, if you say that the temperature is 28 ° C, there is room for interpretation - or bad interpretation.

Using precise information also generates confidence, because it assures its readers that you really know what he is talking. This helps keep their attention, making it easier to get across their points.

These three fundamental principles of expository writing, I would add a specific technique. Analyze each sentence or passage of writing to see what we can ask the question in the mind of the reader. So the answer is!

Typically, these questions are subconscious, the reader will not even notice them. However, a long list of "what is this?" and "why is that?" will inevitably cause the reader's mind away from what you trying to say. When you have lost enough, is unlikely to return.

The reader complained that the text is superficial, boring, dull or confusing. And will be right.

Analysis

Then is the "analysis" of the prologue of the novel. For best benefits, you must read the text likely to end, ignoring the comments parentheses. Then reread the comments. We then compared the original with the "Review", produced by the application of the principles.

The purpose of the prologue is as follows:

1) Introduce the main characters

2) Outline the plot

3) To generate a sense of mystery and expectation

These are the key ideas, and all text must yield to them

-----------------------------------

Aurora sought its signal as the 737 rolled next to her. (Where? Could be possible on the track?). He saw nothing, but his faith never wavered. (Is she expecting some kind of important event?)

When the plane rolled almost out of sight, he noticed two distinct flashes. It was Mitch. As always, he remembered. Almost one years ago, had devised a code system to communicate from the terminal to the plane when it had complained that he could not see into the windows of the tiny plane - a flash of his silver If the card means that he loved her and would return soon. (Just the main event suggested above.)

And she knew that taking into account the long-awaited engagement ring that had given him just before boarding - a white diamond heart-shaped solitaire with groups on both sides and small diamonds embedded in the band. (Did a man really give a woman an engagement ring at an airport just before flying to leave for a week?)

More than fifteen minutes passed and the plane's engines finally complained to the action. The guidelines largely exceeded the Rolls Royce the stagnation of aircraft weight and the vast mass accelerated by the long strip of asphalt. Once having gained speed, it only took a small film fin of the wings and the steel structure stress, rose in the air, was magic in the air. (This seems a rather dramatic description of an airplane taking off, particularly for people like Dawn and Mitch used to fly. What is the purpose of this description?)

Aurora heaved a sigh of relief that echoed the few relatives who had remained on both sides of her - a petite woman, a girl, a man.

The plane was safe. (More on the drama of airplane taking off. Is this section really necessary?)

He wiped brow with a handkerchief Mitch had given him. GMA was initialized - Greg Mitchell Adderby - gray, he was her boss, his mentor, his first true love (how many years has it). Antheus smelled still clung to her - her smell. Then he rubbed the sweat from the palm of your hand (remains concerned about the take-off?) Contrary to the jeans he had bought for her at Harrods in London on his first trip together, his first trip outside of America. Ruby red denim. It was his color favorite, as he always wore ties. That was just a year ago.

He had become such an important part of life Mitch, since then, his wisdom and maturity of a guide to his (how old is Mitch?). He had promised to protect her (against what?). And he marveled the company he co-founded (with whom?), Rad Foods International, a distribution company and irradiated fruit and vegetables, a place where he could work with joy, sometimes, even Excel.

But now she was gone. What would you do for a week? (Does not work in the company?) How you wish he had not had to stay for the awards dinner, the young designer of Business of the Year. But she was proud of the achievements and recognition. In his absence, Mitch Marquis Gerard had prepared for his lead salesman, to accompany her. "There is nobody else I'd rather trust" he had said. (Aurora seems to have won the bid. Why? What kind of work do?)

On the plane, Mitch sought nervously with his briefcase (why "nervous"?). He looked out the window and could see Aurora in the terminal window large. Long, flowing, dark brown hair. The waist long, long, thin limbs. Even from afar, the bright colored jeans and tan motor angora sweater clung to her slender body were a beacon for him. "My ray of sunshine," he whispered and breathed deeply, thoughtfully. (Where is Mitch's going? Where is leaving?)

As his tall figure reduced to a mere point, took off his belt security and turned his head almost upside down, trying to see her for a few seconds.

Suddenly the plane lurched. It was suddenly staggered, and a sharp pain in his head jumped back. He faced forward again and rubbed his sore neck. "Oh," exclaimed as the plane tore another terrible moment in this event even harder.

"For the love man God, get your head down ", a bearded man next to him screamed.

(Why beard? This seems to be a detail-free, reader divert attention away from Mitch.)

"What?"

"He lowers his head."

Confused, Mitch strictly obeyed and sank into the chest to the knees, squeezing in the case of the silver card through the chest pocket of his black Armani suit (is this dramatic moment the right time to describe what Mitch is wearing?).

"Fire," shouted someone from the economy section. "It's the engine." (Why economy section? If we assume that Mitch is in business or first class? With the plane in crisis, does it really matter?)

"Put your head between your knees and be quiet, "wailed a woman's shrill voice from the speaker. (A stewardess trained" cry "in the voice of an" acute "?) His words were barely audible over the chaos.

As the plane lurched again, a pot rack above them opened, and a bag of Live fuchsia crashed into the hallway, breaking the zipper - bras, socks and underwear spilling out. It was so steep angle of the jet, now that the clothing plummeted over the ship with the ease of marbles. (List the contents of the bag changes Mitch reader's attention. Does it matter?).

Along with Mitch, two women were sobbing hysterically. "This can not be happening," one shouted. (Again, the reader's attention is shifted Mitch. Why?)

Unexpectedly, another door upper compartment is opened, this time throwing yellow cups on passengers and scared (this phrase is necessary?).

"Put on your seatbelt ..." The Bearded Man Mitch yelled at her side. His hands sought to obey.

On the ground, Aurora swore that the plane tipped unevenly. It was not up more. Suddenly another movement was heartbreaking and then swung down.

"My God, he exclaimed, looking with fear at the dangerous angle. Everyone around the terminal in Niagara Falls opened in the scene. (Why this change Aurora care at the time that has been re-established?) The plane was a few hundred meters above the ground, hopeless enough space to level for a landing smooth.

Suddenly, the plane tilts to one side and turned toward the building. A huge burst of fire from the engine.

"They're going to die!" Someone shouted.

"No!" Aurora declared as the metal mass fell to the pavement with a force that the earth shook violently, as if Goliath was falling to earth. (This seems to be free, the metaphor distraction. Is it necessary?), The plane's wing touched the runway with a deafening noise and choking thick puffs spilled from the hull.

An explosion blew out the stream on the left, and the fire began raging.

Aurora was sure that Mitch was one of the windows. She was with him - that includes the last time I had eaten a romantic dinner together, the last time he cast a kiss on the job, the last Once he had made love, was to get there. (This seems an interlude of distraction during a crisis. It is necessary?)

Finally, lame giant slid to a standstill on the track just outside the window where it stood.

---------------------------------

The scene remains largely the same way, ie raising questions are not answered, unnecessary changes of attention, information, entertainment, etc

Review the Foreword

Here's the review. See how the application of the three principles of expository writing (clarity, conciseness, density) and the question and answer technique have been altered.

-------------------------------

Aurora looked out the terminal window, the search for his cue in the 737 shot by her. Still I had not seen but knew he would. When the plane rolled almost out of sight, she saw what she had been waiting for, two different flashes. It was Mitch.

Almost a year earlier, had complained that she could not see through the small stream of Windows, so they had devised their private signally system. A glint of silver card case say he loved her and would soon come.

And there was. Who had used the system several times during the past year, but this time was special. Just before boarding, which gave him what she had been praying for an engagement ring. It was in the form white diamond heart-shaped solitaire with groups on both sides and small diamonds encrusted in the band.

Mitch had planned to give her after her return, but as he said, "I could not wait.

"That was like Mitch, Aurora thought. In general, cool, calm and methodical, but capable of occasional flashes of spontaneity appropriate.

By the time he put on his finger, dreams Aurora as a child a lighted candle around elegant dinner, a moonlight romantic stroll along the river, and perhaps even her beau in one knee, instantly disappeared. Mitch was as anxious as she. That was all that mattered.

At age 26, had of course been in love before. But never like this. It could have been.

The plane was based at the track about 15 minutes. Finally, its powerful engines Rolls Royce roared into action. He began shooting down the runway, gathering speed needed to lift the heavy mass in the sky.

Aurora Mitch withdrew the handkerchief he had given his purse. Bore the initials GMA - Gregory Mitchell Adderby. She briefly pressed her nose and breathed in the smell still Antheus clung to him - his smell. Oh, yes, she had been in love before but never like this.

Just over a year, Mitch had been only his head, but later became her mentor, her lover. And now her soon-to-be husband.

She touched the ring commitment which had become thin finger under 30 minutes. Each time Mitch had gone before, had dragged on. But how would spend the week comes next.

Mitch was on his way to the Young Designer of the year the company awards dinner in Chicago, where he was to be honored. At 31, Mitch was still a boy in appearance, if the silver-haired entrepreneur. Six years ago, he and a fellow of the university was founded Rad Foods International, a distribution company for fast growth and irradiated fresh fruits and vegetables. Still small compared with its competitors, the company acknowledged real corner in general and would soon take its place among the greats.

On the plane, Mitch was in a window seat, turned head trying to catch a last glimpse of Aurora through the large windows of the Niagara Falls Air Terminal. A cascade of brown hair, the waist long, thin limbs. Even at this distance, could see the ruby-colored jeans and fire engine red angora sweater she had bought a few weeks ago when they were in London. "My lighthouse, my sunshine," he whispered.

As Aurora slender figure was reduced to a point, Mitch took off his belt and began to open his briefcase. Suddenly, the plane tipped and was thrown forward, hitting his head against the seat in front of him. He sat up, rubbing his sore neck and beginning to feel the pain radiates to your body. The plane lurched again.

"For the love of God man, get your head down!" Shouted the man across the aisle.

"What?"

"Lower your head, you idiot! The plane will crash!"

No doubt authority in his voice, so Mitch obeyed. He walked into the chest to the knees, pressing the case of silver card through the chest pocket of his jacket.

"Fire!" It's the engine! "Someone shouted.

Then a robust dispassionate but slightly tentative female voice came over the loudspeaker: "Ladies and gentlemen, please put your head between your knees and keep calm."

As the plane lurched again, a luggage rack general open jar. A bag lady crashed in fuchsia soil, pouring a storm of equally colorful intimate apparel - bras, panties, stockings, nightgowns.

"Quite a show, Mitch thought, trying to calm the nerves is fast depleting. But the truce lasted only a moment.

"Put your belt damn security! "Thundered the man across the aisle. Mitch fumbled to play but never did.

Turning the soil, Aurora was watching the scene of horror. The plane was no longer increasing. Instead, staggering from side to side as if trying to make his mind the way forward. Suddenly he threw down.

"Oh my God," Dawn cried, his heart pounding and beads of sweat on fisheries pearl forehead.

Suddenly there was a bright flash and a torrent of fire and smoke gushed from the plane.

"This is going to crash! Everyone will die!" Someone shouted.

"No!" Aurora said the affected aircraft fell from the sky. Just before hitting the ground, the pilot regained some control. He sent along the track. He yelled and screamed as its landing gear torn paralyzed large trenches in the pavement along its trajectory.

Another explosion, more fire and smoke. Finally, the plane overshot a stop right outside the window in which Aurora was.

--------------------------------------

To answer the first question: Can the principles of non-fiction (clarity, conciseness, density) will apply to fiction? In fact, they can. And with considerable effect. So if you always wanted to write fiction, but felt it was beyond you, why not try? You may be better than you think.

Philip Yaffe is a former reporter / feature writer with The Wall Street Journal and a marketing communications consultant. He currently teaches a course in good writing and good speaking in Brussels, Belgium. His book, published recently in the "I" of the Storm: the Simple Secrets of Writing & Speaking (Almost) Like a Pro is available from Publishers History in Ghent, Belgium storypublishers.be () and Amazon (amazon.com).

For more information, contact with:

Philip Yaffe

Brussels, Belgium

Tel: +32 (0) 2 660 0405

Email: phil.yaffe @ Yahoo.com, @ gmail.com phil.yaffe

GQ Rules 3 - Ep.11 - Buy a Pair of Dark, Straight Leg Jeans

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