Nancy Kress
Nancy Kress
Nancy Anne Kressis an American science fiction writer. She began writing in 1976 but has achieved her greatest notice since the publication of her Hugo and Nebula-winning 1991 novella Beggars in Spain which she later expanded into a novel with the same title. She has also won the Nebula Award for Best Novella in 2013 for "After the Fall, Before the Fall, During the Fall", and in 2015 for "Yesterday's Kin"...
NationalityAmerican
ProfessionWriter
Date of Birth20 January 1948
CountryUnited States of America
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Words that add no new information or aren't repeated for emphasis are just padding. A sentence may carry three or five or eight of them, each one as unnoticeable as an extra two ounces on your hips but collectively adding up to a large burden of fat.
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If you consistently write 'The sun set' rather than 'The sun sank slowly in the bright western sky,' your story will move three times as fast. Of course, there are times you want the longer version for atmosphere - but not many. Wordiness not only kills pace; it bores readers.
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The truth is, you have about three paragraphs in a short story, three pages in a novel, to capture that editor's attention enough for her to finish your story.
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You must learn to be three people at once: writer, character, and reader.
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Words change over time. 'Condescending,' for instance, was once a good thing to be. It meant that a person was willing to interact politely with people of lower social ranks. In Jane Austen's world, a lady praised for her condescension was receiving a sincere compliment.
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There are writers whose first drafts are so lean, so skimpy, that they must go back and add words, sentences, paragraphs to make their fiction intelligible or interesting. I don't know any of these writers.
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Surreal fiction is a sophisticated art form. Events happen divorced from conventional logic, as events in a dream may happen. But unlike dreams, everything in the story contributes to an overall coherent point, impression or emotion.
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Overpopulated fiction can be so confusing that readers put the story down. Under-populated novels can seem claustrophobic or boring. You want the right number of characters for your particular work.
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Pace, like everything else in writing, involves a trade-off. If you're not offering the reader a lot of action to keep her interested, you must offer something else in its stead. Slow pace is ideal for complex character development, detailed description, and nuances of style.
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If your reader has been given a rousing opening, he will usually then sit still for at least some exposition. But be sure to follow that chunk of telling with one or more dramatized scenes. That's much more effective than being given section after section of telling.
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If you're writing a thriller, mystery, Western or adventure-driven book, you'd better keep things moving rapidly for the reader. Quick pacing is vital in certain genres. It hooks readers, creates tension, deepens the drama, and speeds things along.
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How many times have you opened a book, read the first few sentences and made a snap decision about whether to buy it? When it's your book that's coming under this casual-but-critical scrutiny, you want the reader to be instantly hooked. The way to accomplish this is to create compelling opening sentences.
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For the professional writer, stories must be presented as a series of individual scenes, each one dramatized with dialogue and telling descriptions of who is present and what they're all doing.
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For commercial books in a genre, readers' and editors' expectations may be fairly rigid. Some romance lines, for instance, issue fairly detailed writers' guidelines explaining exactly what must happen in a book they publish (and what must not).