A Quote by Elizabeth Berg
No matter what kind of writing you do, it's always the details that make the story.
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Well, I don't ever leave out details, in that I don't come up with information or description which I don't then use. I only ever come up with what seems to me absolutely essential to make the story work. I'm not usually an overwriter. As I revise, it's usually a matter of adding in as much vivid details as seem necessary to make the story come clear without slowing down the momentum of the story.
If we got writing assignments in English class to make up a story, that was when the glimmer of creativity popped out. That was way more interesting to me than writing down my life details.
People will ask me, "How do you approach writing books for young readers differently than for adults?" My answer is always: I don't change anything about the story itself. I'm going to tell kids the way things really were. What I don't do - and this is the only thing I do differently in writing for kids - is that I don't revel in the gory details. I allow readers to fill in the details as necessary. But I don’t force kids to have to digest something they’re not mature enough or ready for yet. If they are, they can fill in the details even better than I could, just with their imaginations.
I think fiction isn't so good at being for or against things in general - the rhetorical argument a short story can make is only actualized by the accretion of particular details, and the specificity of these details renders whatever conclusions the story reaches invalid for wider application.
The elements of a good story are most definitely details, little bitty details. That does it, especially when you're describing, when you're setting the scene and everything. It's like you're painting a picture, so details are very important. Also, the music gotta be right. The music can really set the tone for the story and let you know what the story is gonna be about, but definitely, it's the vibe in the place where you at and the detail.
I don't beat at the details, but I do always keep in mind that anything that isn't A) moving the story forward or B) enlarging my understanding of the central characters has to be sacrificed. I have huge folders of details - research - with a story like Netherlands. Only a very small part of it gets used. The old iceberg analogy again.
I start writing, pull whatever images happen to occur to me and make up a story, instead of starting with details that are real and I know of and going from there.
The story is everything, so it always begins with a story. Research is a kind of scaffolding built underneath the story as I go along. My enjoyment level varies, but in general, I'm writing about topics I find interesting, so I can't gripe too much.
The story is everything, so it always begins with a story.And research is a kind of scaffolding built underneath the story as I go along. My enjoyment level varies, but in general, I'm writing about topics I find interesting, so I can't gripe too much.
Mostly it's lies, writing novels. You set out to tell an untrue story and you try to make it believable, even to yourself. Which calls for details; any good lie does.
When we don't have all the details about our characters, we have to make it up to fill in all the details. So, for me, writing and acting go hand in hand.
When I write, the story is always uppermost in my mind, and I feel that everything must be sacrificed to it. All elegant passages, all the curious details, all the so-called beautiful writing - if they are not truly relevant to what I am trying to say, then they have to go.
I never make notes; just a few small details when I'm writing, but nothing much. The plot is never written down. I will tell the story to myself, but I won't plan it. I'll speak the narrative in my head for a while.
Short stories can be rather stark and bare unless you put in the right details. Details make stories human, and the more human a story can be, the better.
Every good story needs a complication. We learn this fiction-writing fundamental in courses and workshops, by reading a lot or, most painfully, through our own abandoned story drafts. After writing twenty pages about a harmonious family picnic, say, or a well-received rock concert, we discover that a story without a complication flounders, no matter how lovely the prose. A story needs a point of departure, a place from which the character can discover something, transform himself, realize a truth, reject a truth, right a wrong, make a mistake, come to terms.
If you write a story based on a real person, you're trapped by the details of the real person and his life. It gets in the way of writing your own story.
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