Fiction vs. Nonfiction - What's the Difference?

In my writer's group, we're a diverse bunch. There are literary fiction novelists, flash fiction scribes, essayists, poets, memoirists, writers for children, and international writers. The only way we're able to critique each other's work is by the fact that we understand and respect the rules and guidelines of each particular genre.

This got me thinking. What if my blog readers wanted to join a diverse writer's group? (One that doesn't say in the description, "We're a group of YA novelists helping each other on the way to publication", not that there's anything wrong with that. In fact, if you're a YA novelist, you should join them. However, if that's not readily available around you, check out a diverse group, they're awesome.)

So, long story short, we're going to talk about the main difference between Fiction and Nonfiction.

This is great if you're critiquing the work of others, if you're a nonfiction writer with a novel idea, or a fiction writer ready to tackle the scientific explanation of worm holes.

What is the main difference between Fiction and Nonfiction?

Fiction poses questions, whereas nonfiction answers questions.

Yes, it really is that simple.

Think back to your high school days with all those giant textbooks. They often included bold headers throughout the chapter saying something like:

Why is the sky blue?

How does Carver embody minimalist style?

What is an integer? 

The paragraphs of text that followed those headers would answer the question and explain why the answer was that way.

However, this is not the case in fiction. In fiction, whether it's a short story, novella or novel, the best writers simply present us with a question.

Harper Lee posed the question of how innocence is destroyed, as well as the impacts of racism.

F. Scott Fitzgerald posed what facilitates the decline of the "American Dream".

Mary Shelley posed the question of what are the tolls in the pursuit of knowledge.

Being a fiction writer means that through your work, you uncover a question for the reader to ponder and create their own answers for. A nonfiction writer has the question predefined and uses their writing to provide answers for that problem.

It's the ultimate boiling down of the term, show don't tell, to a thematic level.


(Special Note: Memoir and other creative nonfiction [think David Sedaris and Elizabeth Gilbert] has shifted more to a fiction "pose the question, don't answer it" mentality in this post-modern time. So, if you're writing a memoir that reads like fiction, but is merely recounting factual events, please follow the thematic guidelines for fiction writing. It'll be so much more successful.)

Grabbing Readers by the Throat

I finished writing a new novel earlier this month. After letting it sit a week or so, I started rereading it, revising, and sending preliminary drafts out for critique to my writing group.

Now, you must know that the idea for this novel came to me years ago - when I was only a junior in high school. However, all the pieces didn't click together until now, when the book came rushing out of my fingers and pounded in the keys of my laptop.

When I started writing just a few months ago, I began with a sentence (like all of us do). Let's call that Sentence A.

However, when I looked over my notes, I found another beginning sentence I'd written back in high school. This is Sentence B. Not only was it completely different, but it started me almost two chapters prior in the day than what I wrote in Sentence A.

So, naturally, I decided I'd play out what happened between Sentence B and Sentence A. Five thousand words of exposition later, I had a first and second chapter cluttering up the most important part of my novel - the beginning.

It's not like that information is bad, or not useful, or even boring. Things happen. Important characters are introduced. The world is set up.

But it isn't the RIGHT information. It's not the stuff that readers need to know about the protagonist and the inciting incident right from the very first page.

In fact, one of the women in my writing group said, "It's not like Sentence B didn't grab me. It did. It took me by the hand. But Sentence A grabs me by the throat and doesn't let me go."

The strange part about all of this is that I knew that Sentence A was better. I knew that I had to start my novel there all along.

And you know too.

You know when you read through your draft that that verb is too flowery or that sentence isn't right. You know when your protagonist's monologue that stretches for three pages is way too much dialogue and not enough action. You know that you had to start with Sentence A rather than Sentence B.

That's the beauty of being a writer. All you need is within you. You can feel the self doubt creeping in, whispering "that doesn't work." You hear it, even subconsciously, and it puts this seed inside you that makes you show your work to others and ask, "Hey, what do you think of Sentence B?"

Every time (if they're not lying to save your feelings), your readers and critiquers, and yes, your agents, know that you should cut Sentence B and all that precedes it.

The power lies within you. The hard part is learning to listen to it.

The reward, however, is great. I'd much rather grab a reader by the throat and have them tearing through my novel than lead them timidly by the hand.

Challenge Post: Opposite Day

I was recently told that I have to do a pretty hefty revision of a short story I wrote months ago. In my mind, the piece was just as it was supposed to be with enough tension and explanation of the plot to get to the next story in the series while still allowing this piece to stand on its own. Of course, that was 5 months ago, so I probably feel differently about it now. (Readers and editors sure do! lol)

To keep myself from the defensive rut of, "I need this paragraph of delicious prose" or "How can they not understand the subtle characterization?", I'm challenging myself to an opposite day.

The rules of opposite day are simple: You must write in an area or manner which is completely opposite to your normal style.

For instance, I normally write behind tightly closed doors where no one but my rabbits (who are too short to see the screen anyway) can hear my fingers dance along the keyboard. I prefer a tomb-like silence and stillness and even the fan of my laptop kicking in can throw me from my meditation.

So, on opposite day, I'm taking my laptop to the coffee shop uptown and writing amongst human beings. There will be talking, cell phone noise, espresso sounds and smells. People will probably come up and ask me what I'm doing. I will have to be cordial.

The whole idea of opposite day is to jolt you out of your normal routine and mindset and make you see your work from the perspective of new readers - readers who often first encounter your piece on their commute to work, or on their lunch break, or while also watching TV.

But I don't want to be the only one using opposite day. I challenge you, fellow blog reader, no matter what day you stumble upon this post, to do opposite day with me.

Do you normally write surrounded by bustling action and many people? Then find a way to write in peace (yes, even if you have to shut yourself in the bathroom). Do you write listening to blaring music? Take off the headphones and see what your characters say in silence. Vice versa.

Change something. See what happens. Even if it sucks, you'll have tried one more option and be another step closer to perfection.

The Importance of a Writing Group

I've talked about writing groups in the past, but I wanted to reiterate their importance once again for any new blog followers who came on in the past few months.

When I was young and first writing, I didn't think writing groups were necessary. Why would I want to take time away from my own writing to review and critique other people's work. Also, if I didn't find a group that wrote solely within my genre, why bother? They're not going to know the subtle nuances I'm trying to achieve.

And then I joined a writing group.

I was 18 when I attended my first group session. It was a face-to-face session attended by roughly 3-4 different members every month. We shared pages a few weeks prior and then brought our notes for each other to some coffee shop here or there around Wisconsin.

There wasn't a single writer in that group that also wrote YA.

I absolutely loved it.

Sure, they might not have known everything about the YA genre, just as I sure as heck didn't know that much about memoirs at the time, but what young me had failed to notice is that I was surrounded by other serious writers. These were writers who put their fingers to the keys and plugged out pages of content every month for other serious writers to read. I grew in my knowledge of the craft in general  and I made some amazing friends.

Now that I've moved cross-country, I've joined another writing group (by the prodding of one of the original Wisconsin face-to-face members) that takes place entirely online. Rather than meeting for coffee, we have monthly quotas to fill (2 submission and 4 critiques per month) that keep all of us plugging away at our work. We stay in contact through email and Facebook and the occasional bi-yearly get together somewhere in the USA.

This format of a writing group has also helped me exponentially. Not only does the online format offer writers from all over the world membership, but it also allows me to read a variety of genres. I get feedback from a diverse group of readers and I give my own unique feedback to them.

Also, when I'm having a rough month and am unable to find time, energy, or inspiration to write, it helps to simply sit down with my laptop and a mug of tea and read the work of my writing group companions.

They inspire me to go back to my own work.

They help me improve that work.

Basically, writing groups are important because they force us to be who we are: writers.

I suggest, no matter your age, that you find a group that fits you. It may take a little while, but don't be discouraged, once you have them, you can never let them go.

Indirect Speech (AKA: "What could you possibly mean?" "Why, let me tell you." "Oh, please do." "With pleasure.")

Early post this week because I start my new day-job tomorrow (wish me luck!).

This week I want to discuss something with you that often gets overlooked: Indirect Speech. Sure, we spend loads of time talking about successful character development, dialogue, and setting, but what about some of the more subtle tools in the writer craft box?

Indirect speech is one of those tools.

To put it simply, indirect speech is the method of paraphrasing your character's actions and dialogue when the information is already known to the reader.

For instance, if your protagonist just learned the evil plot of the antagonist in a long chapter with tons of wonderful dialogue, when she teams up again with her sidekick, she doesn't need to repeat the entire plan because the reader just heard it. Instead, the writer may write something like:

Protag launched into the revelation of Antag's plan as soon as she saw Sidey-Man. 

"But why would he rob Starbucks?" Sidey-Man asked.

This way, the protagonist relays the important information to a supporting character without taking up valuable page-time. (Also note that directly after the indirect speech, the writer flows right into the necessary dialogue in the new scene without any breaks.)

Indirect speech is also important to help cut out common human interactions that your character may think are necessary, but that your reader doesn't want to continuously get stuck reading.

For instance, if you introduce your character as a polite person, they may begin their third conversation in the book like this:

"Hello, Mr. Johnson."

"Hello, Anvil, how's your day going."

"Just fine, how is yours?"

"Splendid. How can I help you?"

"Well, I don't want to alarm you, but I'm looking for a serial killer and I wondered if I could have a peek at your security camera footage?"

This will get mighty tedious mighty fast for your reader. Instead, employ indirect speech:

Anvil greeted Mr. Johnson warmly, then said, "I don't want to alarm you, but I'm looking for a serial killer and I wondered if I could have a peek at your security camera footage?"

This way, Anvil is true to his kind personality and the reader recognizes who this character is, but only the important need-to-know info is given the mighty distinction of quotation marks. 

So, the next time you're writing and find that

1) you're writing the same information over and over again

2) you need to cut word count, or

3) you receive critiques that say there is a lot of repeating information or phrases in your text

have a thought for indirect speech. It may be the subtle, underutilized writing tool your novel needs to kick it up a notch.

Happy Writing this week! I'm going to try and keep up a schedule, but with new jobs and training it's always difficult. Ah, the life of the poor scribe ;)

What's a MOOC and Why is it Cool?

Many of you know that while I'm no longer actively working towards a degree in Writing, I still love taking online workshops and getaway writing weekends to grow my knowledge in the craft.

The only problem? All those classes cost A LOT of money.

Some I'd pay 80-100 dollars for, others cost over 400!

But it was okay, right? All in the name of writing. This is my passion. This is what I want for my life. I want to get better and be published. I want to be a writer!

However, what if we could learn how to be writers without paying two weeks of disposable salary?

That's where the MOOC comes in.

MOOC stands for Massive Open Online Course. Wikipedia defines it further as, "an online course aimed at unlimited participation and open access via the web. In addition to traditional course materials such as filmed lectures, readings, and problem sets, many MOOCs provide interactive user forums to support community interactions between students, professors, and teaching assistants."
Source: https://en.wikipedia.org/wiki/Massive_open_online_course

So, basically, a MOOC is a high-level class brought to you usually by an accredited facility, literally giving away info for free.

What could be better than that?

MOOCs were birthed into the world in 2008, but didn't become popular until 2012. This means they're still a pretty new concept in the world of learning.

If you're looking to take a writing MOOC (or a MOOC in any subject - because they exist for almost anything), here's a list of Pros and Cons.

PROs: 1. They're free.
2. You choose your level of participation. [Because you're not paying for it, you don't have to worry about making deadlines and submitting assignments or risk failing grades. There are no grades here. Simply self enrichment.]
3. You meet a wide variety of people in fields you're interested in. [Unlike a classroom, students are only limited in attending by whether or not they have internet access. That means you meet writers from all over the world that are interested in the same things you are. Great friendships ensue.]

CONs: 1. You must be at least moderately computer savvy.
2. You only get what you put in. [If you don't think you need to participate because it's free and you're not graded, then you probably won't learn very much. Sure, the instructor videos are helpful, but only by engaging in conversation and critique and submission with your fellow students will your writing truly grow.]
3. It's easy to get overwhelmed if you're not organized. [There's no enrollment cap so thousands of students sign up for MOOCs. That means, if you're not prepared, you can easily be overwhelmed by the 3,000 comments made on day one. Also, since there are so many people, it's likely you won't always be critiqued by the same amount of students for each story you submit. While you do receive variety in opinions with your critiquers, one story may get 700 comments, another may only get 3.]


If you think MOOCs sound intriguing, sign up! There are sites like NovoEd that contain hundreds of MOOCs on different subjects.

In fact, the whole reason I've made this post this week is because I'm enrolled in a MOOC put together by the University of Iowa (you know, the one with the really popular Iowa Writer's Workshop). It's called How Writers Write Fiction 2015 and may still be open for enrollment (?) since they're still in the Welcome Week of the course.

And good news for poets, too! The University of Iowa also puts on a How Writers Write Poetry MOOC occasionally. The 2015 one just ended, but they're looking into doing the next in 2016 or 2017.

The Pacifier Predicament

When I was three years old, my mother finally convinced me that I was too old to be using pacifiers. She did this in a very stealthy way, like many mothers. She told me that poor children in Africa needed pacifiers, and could I donate a few of my pacifiers for the children who cried all day and night because they had none?

I, of course, agreed. I scurried around the house, digging my pacifiers from their hiding spots. I flung them into the cardboard box my mom set out in the living room. I found every single pacifier, and then I took the final pacifier out of my own mouth and added it to the box. My mom labeled the box for a phony African children's organization and we taped it shut.

Then, my mom and I walked the box of pacifiers down to the mailbox at the end of the driveway and slotted it in. She let me put the little flag up and I said goodbye with no reservations to every pacifier I had.

Little did I know, my mother snuck down to the mailbox during naptime and removed the box because, of course, the African children's pacifier organization didn't really exist.

That day my mom successfully did two things. 1. She became the spring board off which I would further my activism later in life, and 2. She allowed me to give up the things I no longer needed when I was ready.

This is something you need to remember when you write, too.

I bring up this little anecdote because it's something I'm struggling to remember at this very moment. I'm currently working on a story written in separate installments. My brain thinks that once I'm done with one part, I should go back and reread it and revise where necessary. But my heart tells me to keep writing. If I don't keep up the pace and flow of the next story, they won't seem cohesive.

What I keep telling myself to remember is that even if a scene doesn't feel complete or feels a little off for some reason I can't fathom right now, I don't need to worry about it. I just need to keep writing. When I finish the whole story - every single part - then I can go back and reread to see what's wrong.

Right now, I'm not ready to give anything up in my writing process. And it would be traumatic for me to be forced to.

This same advice works if you're already in the revising stage, too. Let's say you submit the next chapter of your novel to your trusty beta readers. They come back with HUGE problems in the plotting and characterization. However, you just can't seem to bring yourself to kill your darlings just yet.

It's okay. Go have a cup of coffee. Work on some poetry or the next chapter. Wait until you have enough distance from the criticism to truly take it in.

Because if my mom had come to a two year old Alyssa and asked her to give up her pacifiers, even if it was for a good cause, I would have screamed and refused. If she persisted, I probably would have developed some life-long thumb sucking habit. But instead, I got the space I needed to nurture the idea of giving up my beloved pacifiers. I was only approached with the idea of change when I was ready.

Don't feel bad if you leave a scene unfinished to continue the rate at which you're writing. Don't feel bad if you thank your critiquers for their comments, but don't look at them or use them for months. Everyone has a different time frame with change. Find yours and you'll be sending those pacifiers off in no time - no looking back.

Pertinent Details

I once had a professor who, when he critiqued my work, would always want more. More adjectives, more description, more characterization, more detail, etc. I didn't understand why he would do this, especially since my pieces were always the longest in the class. Recently I came across a few old stories he had critiqued while packing up some more of my stuff for the (hopefully soon) upcoming move. Nearly four years later, I finally grasped that what he had been trying to do was exhaust our writing abilities. He wanted us to expand, to pour out everything we had onto the page. He wanted us to give up every word we could think of, detail every event and blade of grass, explain every aspect of our characters' appearance, countenance, and inner thought process.

His class, I understood, was like a giant brainstorming session. Put everything out and don't hold back.

Occasionally, I run into similar situations with beta readers and critique buddies. Someone will latch onto a passing detail and not let go.

"I'm really interested in this coffee machine," they'll say. "When the protagonist sees it, is it something she recognizes? Is it a single cup machine, or is it brewing great quantities at a time? And what about this steam coming from behind the counter? Does she know it's normal for the machine to steam or is she worried that this giant chrome machine is going to explode? Really, if you're not going to focus on the coffee machine, I'd skip it entirely. Otherwise, the reader's mind will be pulled out of the story."

In your mind, the coffee machine was nothing but a grounding detail in the coffee shop. A little sight detail, maybe some smell, sound, and taste. Nothing more.

You never thought it'd be so important to some people.

As the writer it's your job to discern which details require your and the reader's attention. Whether it's a pushy professor or a detail oriented critiquer, ultimately, it's your job to find the pertinent details.

Are those limbo poles going to resurface later in the story in an important way? No? Then cut their half a page description.

Is it going to matter whether the coffee machine can brew one cup or multiple at a time? No? Don't mention it.

Will your protagonist's hair color really make or break this murder investigation? No? Don't sweat plopping it awkwardly into the text.

Toss the things (whether they be details of your own creation or comments from a critiquer) that aren't pertinent details. Only keep what characterizes your characters, advances the plot, or adds tension. Everything else,

yes, everything,

must be deleted.

Merry Christmas, Writer Brain!

Happy December, everyone! Can you believe we're almost through with another year? Where did the time go?

I don't know about you, but with all the stress of the holiday season, family get-togethers, the cold, the snow, the food.....my writing has been a little uninspired as of late.

But do you know the perfect remedy? Critiques.

Yes, critiques.

And though receiving critiques is a wondrous, helpful experience, giving critiques can be just as or more helpful to your writing. For instance, if you're stuck in a writing rut, critique something you wouldn't normally read - like nonfiction or poetry. The sheer act of getting back into the writing brain can spark you back to normal, or give you ideas as to what your next project might be.

So, if you can, carve out some time this month to get back into your critique group or to find a new critique group to be a part of.

It'll be the best gift you give yourself and other writers.