Writing Engaging Fictional Narratives

If you've been following along with these Wednesday writing tips, then you know that one of my main points is that your writing should be felt. I've talked about several ways to do this, but allow me to take a moment to introduce (or reintroduce) you to tension. Tension is not the big argument or the intense sword fight. It's what comes before it all. Tension is found in the quiet moments when a character knows what to do, but worries about what it will cost. It can be found in the unspoken or shown in a simple look. Regardless of the angle you take, the principles are the same. Stakes: Know what your character will win if he/she does win, but don't make this your main question. Instead, ask, "What will he/she lose if they do win?" Spectacles are awesome to read or watch, but tension relies on consequences. Show more to the audience, show less to the character: There's a trap in your story. Show it to the audience before your character. This stems from Hitchcock's "bomb under the table" point. Mix internal and external conflict: High-stakes action is always fun, but internal conflict is just as impactful. Think of Luke Skywalker fighting Darth Vader in Return of the Jedi. The Emperor taunts Luke at a critical moment, and we see him wrestling with the idea of striking down his father. It makes us wonder if he'll stay in the light or fall to the dark. The keyword is wonder. Wondering opens the door to tension. Delayed release: Don't rush to resolve conflict. Stretch out the tension like a bowstring. The more the string pulls back, the more impact your tension-filled arrow has. Love as tension: When there's a deep love, there's a deep pain when it's threatened. Think about The Princess Bride. Although funny and wholesome, we worry for Westley and Princess Buttercup's relationship when she's sent off to Prince Humperdinck. That pain felt from Westley and Buttercup's separation becomes a force that makes it hard to look away. When you're working on a story and conveying your wide range of feelings, add some tension. It leads to that "edge of your seat" moment and keeps us all engaged. #Writingtips #screenwriting #tension #feelings #RandallWallace

Storytelling should be a required course for every student and professional. Because it’s the only way to truly change minds. When I first began writing, I realized that without a story, my words only reached the intellect. To truly resonate, writing must touch both the head and the heart. As I began teaching writing, I realized few people truly were taught how to weave story into their writing — especially when writing articles, posts, or books. Here are seven techniques I teach to help weave storytelling into anything you write: 1. Start with a Hook: Your opening lines are your first, and sometimes only, chance to grab your reader's attention. Use an intriguing question, a surprising fact, or a vivid scene to draw them in. 2. Show, Don't Tell: Rather than stating facts or feelings, show them through actions, dialogue, and sensory details. This technique helps readers experience the story rather than just reading it. 3. Create Relatable Characters: Real people are actually characters to those of us who don’t know them. Treat them that way to your readers, and describe them in ways that bring them to life, whether your spouse, boss, or colleague is a character in your story. 4. Build a Compelling Plot: Stories need something to happen —- action. Use conflict and tension to create suspense and propel your story forward. 5. Use Vivid Descriptions: Paint a picture with your words. Descriptions should be vivid but relevant, enhancing the story without overshadowing it. 6. Include Dialogue: Dialogue brings life to your writing. It's a powerful tool for revealing character traits, advancing the plot, and adding realism. 7. Create a Satisfying Conclusion: Your ending should tie up loose ends and leave the reader with something to think about. A great conclusion makes the journey worthwhile. From Theory to Practice In my own journey, whether writing 'Super Mentors' or 'Pennymores', I've learned that storytelling is not just about entertaining. It's a tool for conveying ideas, sharing experiences, and connecting deeply with your audience. Remember, the most effective writing doesn’t just speak to the mind; it speaks to the heart. By mastering storytelling, you’re not just a writer; you become a storyteller, leaving a lasting impact on your readers. Now, it's your turn. Take these principles and weave them into your next piece. Watch as your words gain power and your stories leave imprints on the hearts of your readers. #StorytellingInWriting #NarrativeTechniques #EngagingContent #HeartfeltWriting 📖💡

A marketer recently asked me for a specific strategy to build suspense in a story. My answer (and thus my definition of suspense) was simple: Don’t say everything. Say some of the thing but not the whole thing. Say the parts of the thing that make people wonder the most. For example, a line from one of my stories: “A small hand emerges from the leaf pile, clutching a metal object. The voice at the end of that hand shouts, “Look what I found, Mr. Dicks!” The object? A spoon. But see how avoiding its name can build suspense? "Metal object? What is it? Is it something dangerous? What kind of metal object could be lurking in a pile of leaves?" Say some of the thing, but not the whole thing, and say the thing that makes people wonder the most. Also, be strategic in what you say and don’t say. I choose to describe the spoon as a “metal object” because this opens up the possibilities considerably. A multitude of possibilities means the audience will be guessing, and guessing equals suspense. When the audience wants you to say the next thing, you have created suspense. Here’s another example from another one of my stories: “I’m standing in my kitchen, holding an object in my hand that I have never held before. Never even touched one before. Honestly, I don’t understand this thing. I’m not sure whether to grab a knife or a spoon or a potato peeler. Should I boil water? Or pop it into the microwave? I need help. I make a phone call.” The object? An avocado. See how avoiding the name of the object creates suspense about the object? Everything that I said was true, but I deliberately left out information that might ruin the suspense. I don’t describe its shape, texture, size, or color. I don’t even indicate that it’s food until the third sentence. That creates suspense. Say the thing, but not the whole thing. Say only the parts of the thing that make your audience wonder. This strategy works for spoons and avocados, but it also works for people, places, and objects of every kind. It works for products and services. Widgets and thingamabobs. Platforms and pizza.   Get your audience wondering about the it or the who or the where by not telling them everything right away - and being strategic in what you choose to reveal - and you’ll have your audience hungering for the next sentence. That is the ultimate goal of every storyteller.

Use the Five Ms to Report and Write Narrative Preparing to write a story or feature piece—particularly one that involves dramatic narrative (what John Franklin called “chronology with meaning”)—starts like most writing projects: look for the who, what, where, when, why, and how. Then create a structure suitable for the essentials of info. Narrative, though, needs more than the 5Ws and the H. Every writer I know who’s tried to write narrative using them has found herself with, maybe, an outline ready for narrative. But thin on the reporting resources to fill it. And having great writing chops is no escape hatch. Trying to compensate for a lack of reporting with brute-force writing leads to sentimentality, theatrics, and (all too often) making stuff up. So how can you prepare to write narrative? My approach is to gather and write using the “five Ms”: main character, momentum, moments, mood, and meaning. They’re not exhaustive. But along with the 5Ws and H, they help me focus my attention, interviews, and planning for narrative writing. How do they work? Here are some things I’m looking for. Main character: Whose story is it? - Who will the reader follow? - What do they want and why? - Who are they before, behind, and beyond the problem? (Are they flat or round characters? *See comment) - How can I bring the reader close enough to see how they act, think, and feel? Momentum: What sends the story into motion: a problem, question, desire? - What’s the intended pace of the story (a static lecture hall, a brisk walking tour, or a breakneck, breathless action movie)? - Does the story feel like it’s moving toward something? - What supplementary events will help “rev the engine” as the story unfolds? -How do my writing choices—word choice, word order, and punctuation—adjust the momentum when needed? Moments: Where and when did certain things happen? - What key moments did I observe or capture, or what do I need to recreate them? - What order do they need to occur in? - How close will the reader be to them (in a hot air balloon, down the block, over the character’s shoulder)? - How will I transition from one moment to the next? Mood: What do I want the reader to feel? - Have I given thought to the mood? - If key moments were set to music, what kind? - Does the mood compliment or clash with the story? - Am I forcing the mood on the reader, or am I letting it result from my writing choices? Meaning: What does it mean? - What’s the story about beyond the specific angle? - What’s universal about it? - What’s a six-word summary for the story? Fold these into what you’re looking for and how you draft, and I promise you’ll feel more supported to write a compelling narrative. #writing #storytelling #writingcommunity #healthcaremarketing #contentmarketing

SCREENWRITING TIP FOR NEW OR ASPIRING WRITERS: "The Iceberg Technique" 10/26/24 Imagine, for a second, a large ICEBERG floating in the middle of the Atlantic or Pacific Ocean BUT... 90% of it is below the surface. The last 10% of the tip represents everything your character says or does on your script page. The unseen parts of the frozen ice behemoth represents EMOTIONS, MOTIVES, TENSION, etc... that's purposely left unsaid. With that, now imagine this scene: A character just received devastating news. Your character responds with a simple, “I’m fine." Two small words, right? But what’s really beneath those words? I'm fine could mean a dozen things: -- Maybe they’re covering up anger, hurt, or even betrayal. -- Perhaps they’re trying to be strong when they’re actually scared. -- Or maybe they’re testing if the other character cares enough to see through the lie. New or amateurish screenwriter's tend to spell out these emotions directly and it irks many producers and readers. If you truly have a desire to keep the reader's attention, you need to pack action lines, gestures, or pauses with depth. If you do it right, it WILL leave your audience/reader/producer with the thrill of discovering what’s truly at play. IN REAL LIFE... People often avoid saying what they mean, especially when emotions run high. Their instinct is to protect, hide, or test others... (Some of you know exactly what I'm talking about if you've ever been in a serious relationship that went awry) ...Harsh, real relationship dialogue often dances around the truth, and as a screenwriter, your job is to echo that realness of every day life into your screenplay(s). Here are just a few tips for you young, aspiring bucks: --Instead of having a character say they’re hurt, maybe they should avoid eye contact, or their hands shake a bit. Example: Judy's last breath leaves her body. Daniel doesn't dare look at her body as she stares back with a blank expression. Daniel's shaky hands smudge blood on his face as he wipes his tears away. He looks around the rubble for an exit when the building CRUNCHES down some more. The jagged rod penetrates Daniel's leg even deeper. -- Instead of a character saying the standard run of mill, “I’m angry,” "I'm pissed." "I'm mad" crap dialogue, You might have your character say something calm but with an edge. MARIE (calm but cold) Of course... I don’t fucking mind at all. The audience will sense the tension because the dialogue suggests there’s much more underneath the iceberg. -- Short, clipped lines or pauses can hint at hesitation, inner conflict, or unspoken emotions. A character who pauses, then quietly says, “I see,” might be feeling deep sadness or disappointment without ever spelling it out. --Sometimes, silence itself is the rest of the iceberg. A character choosing not to answer a question can be as powerful, or more so, than any line you can think of.

Ever feel like your writing hits a brick wall? Mis-timed description derails narrative drive. I wrote last week that readers ask one primary question: "What happens next?" There's an implicit contract with readers that every word you put on the page is something they need to know. When you break that contract by including unnecessary details, readers get annoyed and start skimming—or worse. Every time you pause that forward momentum to describe something, you're making a dangerous bet that your reader cares enough to stick with you. It’s like hiking to a waterfall with someone who stops every 10 feet to point out another tree. That's ok at first, but before long you just want to reach the waterfall. The problem isn't description itself—it's handling it. My friends at Story Grid use two tools to ensure that your descriptions support your narrative rather than detracting from it. 1. Minimum Viable Exposition    Only add what helps the reader understand the action. If it doesn’t move the story or reveal character, cut it.     2. Just-in-Time Exposition    Don’t front-load. Reveal details when they matter—right in the middle of the action. When you balance description with narrative momentum, your readers stay engaged. And that’s when your story truly shines. Want feedback on your scene? Drop a DM. Let’s get your story waterfall-ready.

Matt Stone and Trey Parker, the creators of South Park, taught me the secret to captivating storytelling comes down to two words: "But" and "Therefore." Oh and you can forget "And then." Here's why: "And then" creates a sequence: - Dan and Natalie went on a 6-month road trip starting in Los Angeles - And then they went to Santa Fe - And then they went to San Antonio Boring, right? Now, watch what happens with "But" and "Therefore": - We were living in San Francisco during the 2020 pandemic. - But wildfires in Northern California forced us to stay indoors. - Therefore, we planned a 6-month road trip across the US. - But our Airbnb in Austin wasn't available for two weeks. - Therefore, we decided to stop in San Antonio as a temporary stay. - But we unexpectedly fell in love with the city. - Therefore, we explored it thoroughly, biking every trail we could find. See the difference? "But" introduces conflict. "Therefore" shows cause and effect. Together, they: - Create tension - Drive the narrative forward - Keep the audience engaged - Make characters relatable - Reflect real-life challenges and decisions This technique could make a bigger impact in: - Marketing campaigns (problem → but → solution) - Pitch decks (market need → but → our unique approach) - Team storytelling (challenge → but → innovative response) The potential result? More compelling narratives, better audience engagement, and increased buy-in. Now it's your turn. Tell me a story using "But" and "Therefore."

Have you ever told yourself, “just one more chapter,” only to keep reading for hours? That’s the power of strong, suspenseful chapter endings. Here are five simple but oh-so-effective chapter ending strategies that will make it impossible for readers to put your book down: 1. Raise a question. Creating open loops naturally makes the reader want to continue the story to see how that element gets resolved. Ex: But then she heard someone whisper her name from behind. Who is whispering her name, and why? We're immediately intrigued to find out. 2. Create an obstacle. We'll naturally want to see your character overcome it. Ex: The letter slipped through her fingers and into the storm drain. Presumably this letter was important to the character achieving her objective, so we want to see what she’ll do now that it’s lost. 3. Drop a bomb. This is a shocking reveal that gives the reader the feeling of a puzzle piece clicking into place, and we’ll naturally want to see the ramifications of this major development on the rest of the story. Ex: The handwriting was unmistakable — it was his mother's. (Note that this particular technique can be incredibly effective, but you don't want to overuse it—save it just for the MOST important reveals in your story. Otherwise, it will start to feel melodramatic and overwhelming for the reader.) 4. End with unresolved emotion. Since we care about the character, we'll feel the weight of their inner conflict. Ex: He shut the door, but the words still echoed in his head: "It's your fault." The emotion in this moment creates tension that’ll carry us into the next scene. 5. Add a time constraint. This will naturally amplify the stakes and enhance the pace, creating tension that keeps readers engaged. Ex: She realized it had been a week since she heard from him. A clap of thunder drew her attention to the window. The hurricane had arrived. In this example, the impending storm amplifies the tension because we know it’s going to complicate this character’s search for the person she’s looking for and make it even more important for them to be urgently found. 5 ways to write chapter endings that make your book unputdownable: 1. Raise a question 2. Create an obstacle 3. Drop a bomb 4. End with unresolved emotion 5. Add a time constraint What’s one of your best chapter endings in your current WIP?