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Category: writing technique
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Neil Gaiman #003: The DOUBLE DELAY
Today, we’ll look at a very powerful technique Neil Gaiman makes use of in The Ocean at the End of the Lane. It’s one I call the DOUBLE DELAY. Now, even kids know what a cliff-hanger is if they’ve ever read a Hardy Boys or Goosebumps book. The idea that you end a chapter…
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Neil Gaiman #002: Use THE ECHO as a voice!
Let’s get right to it today and see an innovative way Neil Gaiman uses parentheses in The Ocean at the End of the Lane: I would talk to people whose existence I had forgotten years before and they would ask me about my marriage (failed a decade ago, a relationship that had slowly frayed…
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Neil Gaiman: the clothes make the man!
I’ve just read Neil Gaiman’s The Ocean at the End of the Lane, and I highly recommend it. This week, I’ll be examining five techniques he makes use of, and the first is one he uses at the beginning of the prologue: I wore a black suit and a white shirt, a black tie…
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Braunstein: Contrast and time shift
Check out a few interesting techniques that are being combined in Sarah Braunstein’s short story, “Marjorie Lemke.” The first is that it is like she’s holding a conversation…with herself. The second is a time shift: the “selves” who are talking with each other are the person she used to be and the person she…
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Sara Dailey #007: Circle technique
Ok, so it’s our final day of looking at Sara Dailey’s technique via her creative nonfiction piece, “The Memory Train.” Today it’s all about circle technique. If you look back to the first post of this week, you’ll see she began with a paragraph about Phineas Gage, a railway worker who LIVED after accidentally…
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Sara Dailey #006: Character foils–another interesting contrast for your writing
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Character foils are two characters in the same situation who react differently. Picture two kids with an alcoholic parent. One grows up and never touches a drop of alcohol. The other becomes alcoholic. Those are foils, and they’re another way to show contrast, just like the rhetorical questions we explored yesterday. Let’s see…
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Sara Dailey #005: Rhetorical questions and contrast
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I know what you’re thinking…POWER PUNCH? For a rhetorical question? Are you kidding me? But rhetorical questions are powerful because they automatically imply a CONTRAST and contrast is what makes writing interesting. What I mean is that there are usually two opposite ways of answering a question, so conflict is naturally indicated this…
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Sara Dailey #004: Hard and soft similes
I was always taught that similes are gentler than metaphors. You know–use simile in a Valentine’s Day card to your girlfriend; use metaphor for your angstiest emo poetry. Clearly, Sara Dailey didn’t get that lesson. First, look at the hard-hitting simile she works into her story, “The Memory Train”: Like the soul, a migraine…
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Sara Dailey week #003: Knockout idea–Use a theme!
What has been will be again, what has been done will be done again; there is nothing new under the sun. Ecclesiastes 1:9 Now you know that if this idea is stated in the Bible, a book that’s a few thousand years old, then it’s not exactly a new idea that writers struggle…
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Sara Dailey week #002: Character and pathos
In “The Memory Train,” Sara Dailey begins by describing a man, Phineas Gage, a railroad worker who survived after a large iron rod punctured his left frontal lobe. The bleached bone shows a jagged U above the empty hollow of the left eye’s socket, bone that never again seamlessly met other bone. It…