I still clearly remember the day I learned what “WIP” meant. I was a newbie on a writing forum, and everybody was using special writing terms like “WIP.” It got to the point where I wanted to scream: What’s a WIP? And why don’t I get one tooooooo? Then I googled it. Oh. Work-in-progress. That’s what it means. Of course.
As with any specialized occupation, writing comes complete with an equally specialized lexicon. Nowadays, I take for granted terms like “WIP,” “MC,” “deus ex machina,” and “head hopping.” But there was a day when all I could do was slack my mouth and glaze out in confusion.
Raise your hand if you’ve ever felt this way.
Introducing the Ultimate Glossary of Writing Terms
Action Beat
A description of the actions (gestures, facial expressions, or even thoughts) that accompany a speaking character’s words. An action beat should be included in the same paragraph as the dialogue as an indication that the person performing the action is also the person speaking.
For further study:
Active Voice
The opposite of passive voice.
Example:
Active Voice: Beautiful giraffes roam the Savannah.
Passive Voice: The Savannah is roamed by beautiful giraffes.
In active voice, the person or thing performing the action serves as the subject of the sentence. In passive voice, the subject is the person or thing being acted upon. In linguistics, the actor in a sentence is called the “agent,” and the passive receiver of action is called the “patient.” These are independent of “subject” and “object,” but which is which determines the voice of the verb.
For further study:
Alliteration
A stylistic literary device identified by the repeated sound of the first consonant in a series of multiple words, or the repetition of the same sounds at the beginning of words or in stressed syllables of a phrase.
Example: Peter Piper picked a peck of pickled peppers.
For further study
Alpha Reader
An alpha reader is among the first to read a completed manuscript (MS) or work-in-progress (WIP) and is usually a close friend of the writer. The role of the alpha reader is to provide cheerleader-like support and encouragement rather than constructive criticism.
See also: Beta Reader
For further study:
Antagonist
A person (or force) standing in opposition to the protagonist.
For further study:
- How to Choose the Right Antagonist for Your Story
- How to Write Multiple Antagonists
- Evil, Insane, Envious, and Ethical: The Four Major Types of Antagonists
Antagonistic Force
Whatever is standing in opposition to the protagonist’s goal. Could be a human, but could also be an inanimate obstacle.
For further study:
Antihero
A protagonist who lacks conventional heroic qualities such as idealism, courage, and morality. These individuals often possess dark personality traits such as disagreeableness, dishonesty, and aggressiveness.
Examples: Captain Mal in Firefly or Holden in The Catcher in the Rye.
For further study:
Archetype
A “type” of character, which is commonly repeated across literature.
Examples: The Mentor, the Magician, etc.
For further study:
AYKB
“As you know, Bob…” A method of dumping exposition through dialogue, infamous for its awkwardness and lack of realism. It involves an otherwise unnecessary conversation between two characters that the author forces on them solely to inform readers of what the characters both already know. Writers often choose this technique to reveal important background information without taking readers out of the story, but it usually works against them by taking the characters out of the story instead.
For further study:
Back Matter
The additional parts of a book, appearing after the main body of the text (i.e., acknowledgements, historical notes, explanatory notes, end notes, an afterword, index, bibliographies, and appendixes). Also called End Matter.
Backstory
Information about past events or thoughts that shaped the characters or story world.
For further study:
- Backstory: The Importance of What Isn’t Told
- The #1 Problem With Backstory (and Its Simple Fix)
- Give Me 3 Minutes and I’ll Give You a Better (and Darker) Backstory
- The Only Rule About Backstory That Matters
- When Not to Tell Your Character’s Backstory
Beat
An important event or turning point within a story.
For further study:
Beta Reader
Beta readers provide feedback during the writing and/or editing process. They are not explicitly proofreaders or editors, but can serve in that context. Elements highlighted by beta readers encompass things such as plot holes, continuity problems, characterization, and believability. The beta might also assist the author with fact-checking.
For further study:
- A Quick Guide to Beta Reader Etiquette
- 15 Places to Find Your Next Beta Reader
- Relax! Beta Readers Aren’t Scary: Here Are 3 Truths About Them
Black Moment/Low Moment
The part of the story when everything looks hopeless and the situation is at its lowest point. Usually coincides with the Third Plot Point.
For further study:
- How to Figure Out the Worst Thing That Can Happen to Your Character
- Creating Stunning Character Arcs, Pt. 12: The Third Plot Point
- The Secrets of Story Structure, Pt. 9: The Third Act
Blurb
A short summary of what the book is about, meant to hook the reader.
For further study:
Burly Detective Syndrome
Frequently referring to a character by a description (“the burly detective”), usually out of fear of overusing the character’s name or pronoun (see Stutter).
For further study:
Byline
The name of the author printed at the head of the article or on the cover of the book.
Character Arc
The personal/inner transformation the protagonist undergoes over the course of the story. Usually, the character learns something through the main conflict in order to become a better person by the story’s end.
For further study:
Chekhov’s Gun
This is a dramatic principle that requires every single element within a story to be necessary and irreplaceable. The term was coined when Anton Chekhov wrote a letter to A.S. Lazarev, indicating that if a loaded gun is present in one scene it should be fired in a subsequent scene in order to avoid being superfluous. If you give something attention, such as the gun, it must be because it has some import later in the narrative.
For further study:
- Chekhov’s Gun: What It Is and How to Use It
- Setup and Payoff: The Two Equally Important Halves of Story Foreshadowing
Chick Lit
A genre fiction centered on contemporary women and women’s issues that is often written in a light, humorous tone. Generally, it deals with the protagonist and her relationships with family, friends, and/or romantic interests. Often referred to as women’s commercial fiction.
Cliché
Any situation in a story that has been used too many times in literature, to the point it loses meaning and/or becomes cheesy.
For further study:
- Turn Clichés on Their Heads
- Are You Creating Your Own Personal Clichés?
- 3 Ways to Make Clichés Work in Your Writing
Cliffhanger
The ending of a chapter or book in a moment of high suspense and tension, used to compel readers to read on or buy the next book in an installment.
For further study:
Climactic Moment
The moment in the Climax where the overall goal is reached or not reached. This is the moment when the protagonist defeats the antagonist or visa versa.
For further study:
- Want Readers to Adore Your Book? Learn How to Ace Your Climactic Moment
- Creating Stunning Character Arcs, Pt. 14: The Climax
- How to Structure a Whammy of a Climax
- The Secrets of Story Structure, Pt. 10: The Climax
Climactic Turning Point
The beginning of the Climax, halfway through the Third Act (at approximately the 88% mark in the book).
For further study:
Climax
The finale of the story, featuring the final and decisive confrontation between the protagonist and the antagonistic force, determining whether or not the protagonist will succeed or fail in gaining the main plot goal. Takes place in the final eighth of the story (the second half of the Third Act), starting around the 88% mark, and lasting until the last or next-to-last scene.
For further study:
- How to Structure a Whammy of a Climax
- Creating Stunning Character Arcs: The Climax
- What Is the Role of Theme in a Story’s Climax?
Conflict
The overarching opposition fueling the entire plot of a story and presenting obstacles to the protagonist on a macro and micro level.
For further study:
- What’s the Difference Between Conflict and Tension?
- Most Common Writing Mistakes, Pt. 31: One-Dimensional Conflict
- The Four Different Types of Conflict in Dialogue
- 5 Ways to Keep Readers Riveted With Conflict
Contagonist
A term unique to Dramatica’s list of archetypes. As defined by Melanie Anne Phillips and Chris Huntley, the Contagonist “hinders and deludes the Protagonist, tempting it [sic] to take the wrong course or approach.”
For further study:
- 8 ½ Character Archetypes You Should Be Writing
- What’s a Contagonist? (How to Keep Story Conflict High Without the Antagonist)
- How to Write Multiple Antagonists
Content Editing
A content editor looks at the big picture: character arcs, plot arcs, tone, and pacing. Also may comment on POV issues and/or narrative voice. A content edit is the first edit a story should go through after the rough edges have been knocked off the first draft.
For further study:
Copy Editing
The process of ensuring that a piece of writing is correct and consistent in terms of grammar, spelling, and punctuation; that it is logically structured and audience-appropriate; and that the intended meaning of the text is communicated clearly through suitable word choice and style.
For further study:
- How to Edit Fiction: Watch Me Correct My Own Story in Real Time
- 6 Tips for How to Organize Your Novel’s Edits
- 5 Ways to Trim Your Book’s Word Count
Court Intrigue
A subcategory of epic fantasy that’s currently popular and is the fantasy equivalent of Dumas’s The Three Musketeers. Good examples of this are Robin Hobbs’s Assassin trilogy, George R. R. Martin’s A Song of Ice and Fire series, Martha Wells’s The Element of Fire, and Dave Duncan’s The King’s Blades trilogy.
COZY
A mystery novel that usually features a bloodless crime, with very little violence, sex, or coarse language (but not always a pure “clean read”). Usually, the person solving the crime is an amateur and has the support/friendship of a police officer/detective/medical examiner. Readers usually identify with the main character because they are positive and socially acceptable (even their small faults).
Creative Nonfiction
The use of literary style and writing technique to tell a true story. It’s an embellishment, but only for the sake of telling a story that teaches a lesson or conveys a change of heart or mind. Narrative, dialogue, setting, and voice are just a few creative writing tools used to grab a reader’s interest and leave them changed somehow at the end.
For further study:
Critique Partner/Critter
A partner with whom a writer exchanges manuscript critiques, in order to get knowledgeable feedback about how to improve a story. Critique partners receive no payment, only your critique of their own writing in return. (See also Beta Reader and Alpha Reader.)
For further study:
- 15 Places to Find Your Next Beta Reader
- Questions for Critique Partners
- When You’ve Chosen the Wrong Critique Partner
Cyberpunk
Cyberpunk explores the fusion between man and machine. A key element is the perfection of the Internet and virtual reality technology. In a cyberpunk novel, characters can experience and interact with computers in a 3D graphic environment so real it feels like a physical landscape. The society in which cyberpunk is set tends to be heavily urban and usually somewhat anarchic or feudal. The “father of cyberpunk” is William Gibson, author of the seminal cyberpunk novel Neuromancer. Other authors defining this ever-evolving virtual reality include Neal Stephenson and Rudy Rucker.
Denouement
The wrap up after the story is done. The wind down from the action of the Climax. Sometimes not included in the full arc of the story, but tells afterward details.
For further study:
- Creating Stunning Character Arcs, Pt. 15: The Resolution
- The Secrets of Story Structure, Pt. 11: The Resolution
- The Characteristic Moment Belongs at the End of Your Book Too
Deus Ex Machina
Literally translates “god from a machine” and was originally a reference to the “god” (played by an actor lowered onto the stage on a “machine”) who descended at the end of the Greek and Roman plays to solve all the mortal characters’ problems and put everything in order for a happy ending.
For further study:
Deuteragonist
A secondary protagonist and the driver of a subplot. Can be a sidekick.
Developmental Editing
Editing concerned primarily with the structure and content of a book that starts near the beginning of the manuscript’s life. A developmental editor works to give the book focus and direction (mostly towards what is “marketable”) by helping to develop author’s ideas, and so will point out inconsistencies in aspects such as logic, voice, and audience.
For further reading:
Dialogue
Words spoken by a character, conventionally enclosed in quotation marks. Dialogue should sound realistic, without attempting to reproduce real speech verbatim. Indirect dialogue, also known as reported speech, is a narrative summary of dialogue.
For further study:
- The Four Different Types of Conflict in Dialogue
- Get Rid of On-the-Nose Dialogue Once and For All
- How to Write Funny Dialogue
Dialogue Tags
Dialogue tags and/or action beats let readers know which character is speaking.
For further study:
Dieselpunk
A subgenre related to steampunk, although it is driven more by the culture of the 1920s through the early 1950s. Technology is strongly influenced by diesels.
For further study:
Drabble
Fiction of almost or exactly one hundred words, but not over. Something you write for fun. Or practice. Or both. Both is good.
Dumb Mechanic
Where a character explains something to a character who doesn’t know anything about the subject. For example, a mechanic explains what is wrong with a machine to someone who knows nothing about mechanics. It’s vital the ignorant character’s lack of knowledge be realistic and believable.
See also, “As you know, Bob” (i.e., a character telling another character something they both know.) The Dumb Mechanic is slightly better than “As you know, Bob,” but the core problem is the same.
For further study:
Dystopian
This describes an imagined community, society, or world, in which everything is unpleasant or undesirable. It is the opposite of utopian, and literally means “bad place.”
End Matter
The additional parts of a book, appearing after the main body of the text (i.e., acknowledgements, historical notes, explanatory notes, end notes, an afterword, index, bibliographies, and appendixes). Also called Back Matter.
Epic Fantasy
Sweeping in scope, epic fantasy usually concerns a battle for rulership of a country, empire, or entire world. Drawing heavily upon archetypal myths and the quintessential struggle between a few good people against overwhelming forces of evil, epic fantasy is best represented by author J.R.R. Tolkien’s classic The Lord of the Rings trilogy. Other authors of epic fantasy include New York Times‘ bestselling Raymond E. Feist (The Serpentwar Saga) and Adam Lee (The Dominions of Irth). Some other popular epic fantasy authors are Robert Jordan, David Eddings, and Terry Brooks.
Epilogue
A separate section at the end of a work often commenting on the work as a whole and/or serving as an addendum.
For further study:
Exposition
The part of the story where background information about characters, events, setting, etc., is provided.
Fantasy
A genre of speculative fiction. Sci-fi typically aims for scientific plausibility, while fantasy often incorporates magical systems. Stories may contain elements of both or be exclusive to one or the other, but all such stories explore fantastic worlds and scenarios.
For further reading:
- Fantasy Worldbuilding Questions
- One Handy Way to Add Instant Originality to Your Fantasy Novel
- Waiter! There’s a Smphurphle in My Fantasy Novel: Do’s and Don’ts of Made-Up Words
- Are You Asking These Important Questions About Your Fantasy Setting?
First Act
The opening act in your story. In the classic Three-Act structure, the First Act comprises the first quarter of the story. It is primarily concerned with introducing characters, settings, and stakes, as well as setting up the main conflict. It includes such important structural moments as the Hook, the Inciting Event, and the Key Event. It ends with the First Plot Point.
For further study:
- The Secrets of Story Structure: The First Act
- Creating Stunning Character Arcs: The First Act
- How to Take the Guesswork Out of What Scenes Belong in Your First Act
First Person
A point of view in which readers “see” through the eyes of the main character. It uses pronouns such as “I” and “me.”
For example: “I walked into the house.”
For further study:
- 3 Ways You Can Use a First-Person Narrator to Tell a Better Story
- Don’t Even Think About Using First-Person Unless…
- Most Common Writing Mistakes: Is Your First-Person Narrator Overpowering Your Story?
First Pinch Point
An important structural turning point that occurs in the First Half of the Second Act at the 37% mark. It emphasizes the threat of the antagonistic force, shows what is at stake for the protagonist in the conflict, and introduces important new clues about the nature of the conflict.
For further study:
First Plot Point
The first major plot point in the story, marking the end of the First Act and the beginning of the Second. It takes place around the 25% mark. This is where the protagonist fully encounters the story’s conflict in a way that the choice to leave behind the Normal World of the First Act and enter the “adventure world” of the Second Act.
For further study:
- Never Confuse the Key Event and the First Plot Point in Your Book Again!
- The Secrets of Story Structure: The First Plot Point
- Creating Stunning Character Arcs: The First Plot Point
Flashback
Short narration that breaks a story’s linear time sequence by showing the past.
For further study:
Flash Fiction
Extremely short fiction. Some flash fiction markets have a limit of 50 words, while others allow up to 1,000 words. Like longer fiction, flash fiction includes conflict and resolution, but some elements may be implied and left to readers’ imaginations. Due to its extreme brevity, flash fiction tends to focus on a single turning point or revealing moment.
Flashforward
Short narration that breaks a story’s linear time sequence by showing the future.
For further study:
Foreshadowing
Involves planting hints early on in a book to prepare readers for important revelations and events that occur later in the story.
For further study:
Front Matter
The material preceding the main body/text of a work: including the title pages, printing/publishing data and/or a table of contents, foreword, preface, author’s note, dedication, etc.
Genre
A category of fiction (e.g., romance, mystery, or fantasy). “Genre fiction” is generally considered popular fiction as opposed to literary fiction.
For further study:
- Definitions of Fiction Categories and Genres
- What Is Genre Fiction?
- Literary Fiction vs. Genre Fiction
Ghost Writer
One who undertakes the physical labor of writing an article, book, or memoir for someone else, usually in secret. One who produces written content as a third party for someone else, nominally for a fee in exchange for all credit for said written content belonging to someone else.
For further reading:
HEA
Happily Ever After. Romance writers use this to describe a genre as well as a moment. “A great HEA read.” Or, “you do get your HEA?” Most often seen with Harlequin and the “cozy” genre.
Head Hopping
A common gaffe that occurs when the narrative breaks “out of POV” and jumps without warning from the perspective of one character into the perspective of another.
For further study:
Hero’s Journey
The Hero’s Journey is a narrative structure or pattern, identified by Joseph Campbell as being the common thread in many historical and mythological stories and purported to be the strongest psychological storyform. At its most basic level is it is a classic adventure storyform, featuring a hero who must overcome opposition and save his world. However, it can be applied to vastly different types of stories. Also known as the Monomyth.
For further study:
- The Writer’s Journey by Christopher Vogler
- The Hero’s Journey: An Author’s Guide to Plotting
Historical Fiction
A literary genre where the plot takes place in the past, often (but not always) including historical figures.
For further study:
Hook
Any moment of interest designed to “hook” a reader’s curiosity. Specifically, it applies to the opening Hook in the book’s first chapter, which piques reader curiosity about the plot and protagonist and convinces them to read the book.
For further study:
- The Secrets of Story Structure: The Hook
- How to Drive Your Readers Wild With Hints and Story Hooks—Without Frustrating Them
- Think You Wrote a Great Hook for Your Book’s Beginning? Find Out Why It May Not Be Enough
House
Refers to well-known, respected publishing houses.
Impact Character
A character who is a strong catalyst for change in the protagonist, causing inner conflict and helping put the plot into motion.
For further study:
Inciting Event/Incident
The moment that “officially” kicks off a story’s main conflict/plot. This is the protagonist’s first brush with the conflict—the Call to Adventure, which the character will start out by rejecting to some degree. Usually takes place after the story’s initial set-up, at the 12% mark, halfway through the First Act. This is the first prominent turning point in the story.
For further study:
- Your Book’s Inciting Event: It’s Not What You Think It Is
- The Secrets of Story Structure: Inciting Event and Key Event
- Maximize Your Story’s Inciting Event
Info Dump
An undesirable writing method in which the author “dumps” information or extensive description on the reader all at once, instead of weaving the information into the action of the story.
For further study:
- Most Common Writing Mistakes: Info Dumps
- This Is How to Transform Info Dumps Into Exciting Plot Reveals
- How to Use Dialogue to Avoid Lengthy Info Dumps
In Medias Res
The Latin term for “in the middle,” which is applied to idea of beginning a story in the middle of things.
For further study:
Internal Dialogue
Reproduces a character’s thoughts and is often (though not always) indicated by italics.
For further study:
- The Do’s and Don’ts of Internal Monologue
- 5 Ways to Write Character Thoughts Worth More Than a Penny
Key Event
If the Inciting Event is what gets your plot rolling, the Key Event is what sucks your protagonist into that plot. Even if you have a great big Inciting Event (like, say, the beginning of a war), it can’t affect your character until the Key Event drags him into the mess (as would happen if he were drafted into the Army).
For further study:
KidLit
Books for children.
For further study:
Line Editing
This form of editing means going over a manuscript line by line and editing it for grammar errors as you go. It doesn’t entail any extensive rewriting, but there may be some use of color editing to liven up flat prose, and there may be some reduction of redundancies (such as repeated information). This type of editing may include the use of a style guide, such as the Chicago Manual of Style.
For further reading:
Logline
Single sentence story summary, specifically used as pitch. See Premise Sentence.
For further study:
Love Interest
A principle secondary character for whom the protagonist has romantic interest (and/or the romantic subplot itself).
For further reading:
- 8 ½ Character Archetypes You Should Be Writing
- How to Take Advantage of Your 4 Most Important Characters
MARY SUE (female), MARTY-STU (male)
Begun by fan fiction writers but now a part of writers’ general vocabulary. A derogatory term for a character who is able to do everything, with unrealistic abilities.
For further reading:
MC
Short for Main Character. The lead of the story.
For further study:
Mentor
An experienced adviser who offers—sometimes reluctantly—to show the hero “the way.” Usually a trustworthy ally, the mentor figure will often impart an object or piece of information that will prove vital later in the hero’s quest. The name itself comes from a character in Homer’s The Odyssey. Examples include: Obi-Wan Kenobi from Star Wars, Gandalf from Lord of the Rings, and “Irv” in Cool Runnings (a less trustworthy mentor figure).
For further study:
MFC
Main Female Character. The female lead in a romance story. Usually gets the guy in the end.
MG
Middle Grade fiction, targeted to children ages 8 to 12 years old. Typically features a main character in the same age range and avoids “mature” content such as graphic violence or sexually explicit material. That’s not to say the stories are simplistic, of course.
Microfiction
Extremely short fiction. Some flash fiction markets have a limit of 50 words, while others allow up to 1,000 words. Like longer fiction, flash fiction includes conflict and resolution, but some elements may be implied for the sake of brevity and left to readers’ imaginations. Due to its extreme brevity, flash fiction tends to focus on a single turning point or revealing moment. (See Flash Fiction.)
Midpoint
The Second Major Plot Point in a story’s structure. It occurs in the middle of the book, halfway through the Second Act, at the 50% mark. This is where the protagonist experiences a Moment of Truth, which allows a better understanding of the antagonistic force and the external conflict, as well as the internal conflict driving the character arc. It signals a shift from the reactive phase of the first half into the active phase of the second half.
For further study:
- The Secrets of Story Structure: The Midpoint
- Creating Stunning Character Arcs: The Midpoint
- How the Perfect Midpoint Moves Your Protagonist From Reaction to Action
- How to Transform Your Story With a Moment of Truth
MMC
Main Male Character. The male lead in a romance story. Usually gets the girl in the end.
Motif
An image or phrase with thematic significance that is repeated throughout the book.
For further study:
MPS: Missing Parent Syndrome
The rather common occurrence in which the protagonist is underage but the parents and/or guardians are somehow left out for the majority of the plot. This can be due to death (Frodo in Lord of the Rings) or boarding school (Harry Potter) or visitation to another world (Narnia) or just about any other reason.
MS
“Manuscript.” A yet unpublished work, whether written or typed.
NA
New Adult (Fiction) is aimed at an older age group than Young Adult (12-18) and focuses on new adult experiences such as the first serious relationship, first serious job, going to college, and moving out on their own.
Narrative
The overall progression of a story. Also, specifically, the summary aspects of the writing, as distinct from dialogue, direct thoughts, and “shown” action. “Internal narrative” is told from a character’s point of view and, often, in his or her voice.
For further study:
- Keep Your Story Moving With a Cohesive Narrative
- 6 Steps to Create a Fantastic Narrative Voice
- Top 4 Editing Tricks for Creating a Seamless Narrative
Normal World
The initial setting in the story, meant to illustrate the characters’ lives before they meet with the story’s main conflict. This world may be destructive to the protagonist (in which case, the protagonist must learn to move away from it and live without it), or it may be healthy (in which case, the protagonist will have to leave it in order to defend it). The Normal World may be a definitive setting, which will change at the beginning of the Second Act, when the character enters the “adventure world” of the main conflict. However, it may also be more metaphorical, in which case the setting itself will not switch to a new setting, but rather the conflict will change the setting around the protagonist.
For further reading:
- Creating Stunning Character Arcs: The Normal World
- 5 Misconceptions About Your Story’s Normal World
- Provide Contrast Using Your Character’s Normal World
Novel
A fictional prose work with a relatively long and often complex plot, usually divided into chapters, in which the story traditionally develops through the thoughts and actions of its characters.
Novella
A story that runs from around 40K to 50K words. Normally, it has no subplot and no more than two POV characters. One of the harder forms to sell traditionally, though this is changing.
For further study:
Novellette
A short novel that is often about romantic relationships and is usually not very serious. Word count is 7,500 to 17,500 words.
Omniscient
A type of point of view (POV), in which the narration is told from an omniscient or “all-knowing” perspective (sometimes the author’s, sometimes just generally), in which things the characters would have no way of knowing are shared with readers. One of the most difficult types of POV to do well.
For further reading:
On the Nose
A poor style of writing that presents the story in a way that is too straightforward, without irony or subtext. Especially common in dialogue, in which characters always say exactly what they’re thinking or feeling.
For further study:
On Sub
Your manuscript has been submitted, usually by your agent, to a list of editors at publishing houses who may or may not have agreed to read it.
Outline
A sketch of every event that makes up the structure of a story, which is written before a first draft to edit out any structural weak spots beforehand.
For further study:
- Outlining Your Novel
- How to Outline Your Novel
- What Should Your Book Outline Look Like? [Free Download]
Pacing
The rate at which a story progresses and events unfold.
For further study:
- Here Are Five Great Ways to Pace Your Story
- 4 Pacing Tricks to Keep Readers’ Attention
- 5 Ways to Use Pacing to Write a Powerful Story
Pantser
Writers who prefer to write “by the seat of their pants,” meaning without previous outlining.
For further study:
- Can You Structure if You’re a Pantser?
- The Mirror Moment: A Method for Both Plotters and Pantsers
- Thinking About Outlining Your Novel? One Pantser’s Story
Paranormal
A speculative fiction genre that involves elements such as vampires, shapeshifters, fairies, elves, etc. Often set in modern-day urban settings. Often romantic in nature.
For further study:
Plotter
A writer who prefers to write a book after going through an outlining process.
For further study:
- Outlining Your Novel
- How to Outline Your Novel
- What Should Your Book Outline Look Like? [Free Download]
Passive Voice
The opposite of active voice.
Examples:
Passive Voice: The Savannah is roamed by beautiful giraffes.
Active Voice: Beautiful giraffes roam the Savannah.
In active voice, the person or thing performing the action serves as the subject of the sentence. In passive voice, the subject is the person or thing being acted upon. In linguistics, the actor in a sentence is called the “agent,” and the passive receiver of action is called the “patient.” These are independent of “subject” and “object,” but which is which determines the voice of the verb.
For further study:
- Active Voice vs. Passive Voice: How to Use Both to Get the Most Out of Your Writing
- To Be or Not To Be: In Defense of the Passive Voice
Pinch Point
A scene or event that adds pressure to the heroes and reminds readers of the antagonist’s plan or presence within the narrative. One of two turning points that take place in the Second Act (at the 37% and 62% marks, respectively).
For further study:
Plot Point
One of the major turning points in a story’s structure. See also First Plot Point, Midpoint, and Third Plot Point.
For further study:
- What Are Plot Points?
- Are Your Plot Points Too Weak?
- A Matter of Timing: Positioning Your Major Plot Points Within Your Story
POV
Point of View
For further study:
PREWRITING
The first stage of the writing process, which generally includes brainstorming, planning, mapping, researching, and outlining. Prewriting encompasses everything a writer does before beginning the first draft, and it accomplishes such goals as determining the intended theme, organizing plot points, and establishing characters. See also Outlining.
For further study:
- 6 Tasks You’ll Love Yourself for Checking Off Your NaNo Pre-Writing List
- Outlining Your Novel
- How to Outline Your Novel
Prologue
A separate, introductory section to a work.
For further study:
- Skip the Prologue!
- When Not to Skip the Prologue
- One Way to Tell if Your Prologue (and Epilogue) Is Unnecessary
- Find Out if Your Prologue Is Destroying Your Story’s Subtext
Proofreader
Someone reading through a completely edited work to find and/or correct typographical errors (i.e., typos).
Protag/Protagonist
The character whom the story is about and who is most directly affected by the antagonist. This character may be the narrator/POV character (such as Harry Potter or Katniss Everdeen), or the protagonist may be a character who is viewed by someone else (as Atticus Finch and Heathcliff are viewed by Scout and Nelly Dean, respectively).
For further study:
- Protagonist and Main Character— Same Person? The Answer May Transform Your Story!
- 3 Ways to Choose the Right Protagonist
- The Only Reason You Should Ever Choose a Protagonist
Query Letter
A letter written when seeking representation from a literary agent. It describes your story and shows agents why your book is worth their time and effort and is a good fit for their agency.
For further study:
- How to Write a Great Query Letter
Query Trenches
Generally refers to looking for representation from a literary agent (although it is possible to directly query publishers).
Red Herring
A false clue meant to mislead the reader. It creates a false trail for the reader to follow. A red herring can be an object, a character, part of the setting, etc.
Resolution
The final section of the story—usually the last two to three scenes in the final chapter. This is where any final loose ends are resolved after the main conflict has already been decided.
For further study:
Resonance
The power to evoke enduring images, memories, and emotions.
Rising Action
A series of events within the book’s conflict building up—with greater and greater tension—to the story’s Climax.
Romance
A fiction genre focusing on romantic love.
For further study:
R&R: Revise and Resend/Resubmit
An agent or editor saw something they liked in your work but felt it need a significant revision. They’d like you to make the changes they suggested and resubmit it. It doesn’t necessary mean they’ll take it though.
Scene
A scene is a sequence of events that happens at a particular place and time and that moves the story forward. The scene consists mostly of “showing” though it may contain some “telling.” The scene has a particular structure that gives the story motion.
For further study:
- How to Structure Scenes in Your Story
- How to Write Interesting Scenes
- 7 Questions You Have About Scenes vs. Chapters
Scene Sequence
A series of scenes with an overall related focus. A sequence has a unified focus which can usually be summed up in a simple idea (e.g., a rescue, a wedding, a trial, a battle). Scene sequences have their own defined beginning, middle, and end within the overall story.
Scene Structure
The division of a Scene into a scene (the action that happens when a character has a goal, then conflict interferes with that goal and there is an outcome) and its sequel (the character reacting to the previous outcome, then facing a dilemma, and finally making a decision about it that will determine what the character’s goal is in the next Scene).
For further study:
- How to Structure Scenes in Your Story
- Learn How to Structure Your Scenes–in 5 Minutes!
- Incidents and Happenings: Scenes That Aren’t Actually Scenes
Science Fiction
Aka Sci-Fi. Fiction that incorporates scientific elements such as futuristic societies, advanced technology, and alien worlds. Though usually aiming for scientific plausibility, it ranges in realism from currently understood physics and biology to highly speculative science.
Sequel
(A) A self-contained story that continues within the world of a previous story. It typically follows the characters, setting, or themes from the original, but with a new story premise and problem.
(B) The second half of a Scene, following the scene (goal, conflict, disaster). It contains the reaction, dilemma, and decision that the character has in response to the events of the scene.
For further study:
Serial Fiction
Novel (or longer) length fiction written in installments and published at regular intervals, either on a blog, in a magazine, or as small e-books.
For further study:
Skeptic
Every character has his opposite, which allows the author to draw important contrasts and plumb the depths of his theme. Just like the Antagonist is the opposite of the Protagonist, the Skeptic character archetype is the opposite of the Sidekick. This is someone who doubts everything, particularly the Protagonist’s choices.
For further study:
Second Act
The middle act in your story. In the classic Three-Act structure, the Second Act comprises the biggest part of the story, from the 25% mark to the 75% mark. It is primarily concerned with developing the main conflict. It includes such important structural moments as the First Pinch Point, the Midpoint, and the Second Pinch Point. It begins with the First Plot Point and ends with the Third Plot Point.
For further study:
- The Secrets of Story Structure: The First Half of the Second Act
- The Secrets of Story Structure: The Midpoint
- The Secrets of Story Structure: The Second Half of the Second Act
Second Pinch Point
An important structural turning point that occurs in the Second Half of the Second Act at the 62% mark. It emphasizes the threat of the antagonistic force, shows what is at stake for the protagonist in the conflict, and introduces important new clues about the nature of the conflict.
For further study:
Second Plot Point
See Midpoint.
Series
More than one book telling the same or related stories.
For further study:
- Creating a Book Series: Great Idea or Think Again?
- FAQ: How to Write Character Arcs in a Series
- How to Outline a Series of Bestselling Books
Setting
The physical place in which the story’s events happen.
For further study:
- 16 Ways to Make Your Setting a Character in Its Own Right
- 4 Setting Questions That Will Deepen Your Characters
- Ineffective Setting Descriptions
SF
Science Fiction, aka Sci-Fi. Fiction that incorporates scientific elements such as futuristic societies, advanced technology, and alien worlds. Though usually aiming for scientific plausibility, it ranges in realism from currently understood physics and biology to highly speculative science.
SFF
Science Fiction & Fantasy. A combined genre of speculative fiction. Sci-fi typically aims for scientific plausibility, while fantasy often incorporates magical systems. Stories may contain elements of both or be exclusive to one or the other, but all such stories explore fantastic worlds and scenarios.
For further reading:
- Fantasy Worldbuilding Questions
- One Handy Way to Add Instant Originality to Your Fantasy Novel
- Waiter! There’s a Smphurphle in My Fantasy Novel: Do’s and Don’ts of Made-Up Words
- Are You Asking These Important Questions About Your Fantasy Setting?
Shelf Time
The period of time when you put aside your work in progress, in order to be able to come back to it later with fresh eyes.
For further study
Short Story
A story too short to be divided into chapters, usually under 7,500.
For further study:
- Let’s Write a Short Story
Showing
(In contrast to Telling): Conveying an atmosphere, emotion, or mood by relating the movements or expressions of objects or players rather than stating facts about them.
Examples:
Showing: The boughs bowed and swayed, dumping their icy load onto the quivering children.
Telling: The frightened children got soaked by a load of snow falling from the branches.
Showing: His face paled and his hands trembled as he slunk through the doorway.
Telling: He felt nervous and hesitated to enter the room.
For further study:
- Showing and Telling: The Quick and Easy Way to Tell the Difference
- Most Common Writing Mistakes: Are Your Verbs Showing or Telling?
- Most Common Writing Mistakes, Pt. 33: Telling Important Scenes, Instead of Showing
- 3 Tips for Improving Show, Don’t Tell
- 8 Quick Tips for Show, Don’t Tell
Sidekick
Sidekicks, by definition, are almost always with the main character, which allows the conflict to be ongoing. A person who helps and spends a lot of time with someone who is usually more important, powerful, etc.
For further study:
Speaker Tags
In its most basic form, this consists of the speaker’s name and a speech-related verb (said, shouted, asked, etc.). Often the simplest way of indicating which character is speaking.
For further study:
- Most Common Writing Mistakes: How Not to Use Speaker Tags and Action Beats
- Most Common Writing Mistakes: Avoiding “Said”
Speculative Fiction
Speculative fiction is a fiction genre speculating about worlds that are unlike the real world in various important ways. In these contexts, it generally overlaps one or more of the following: science fiction, fantasy, horror, supernatural, superhero, utopian, dystopian, apocalyptic, post-apocalyptic, and alternate history. It is often used as an umbrella term for science fiction and fantasy when considered as a single genre. The term is used this way in academic and ideological criticism of these genres, as well as by some readers, writers, and editors of these genres.
For further study:
Standalone Book
Either a book that is not part of a series, or a book that is part of a series but does not depend on the other books in the series to make sense. Used most often in the former sense to indicate a book that has no sequels.
Standard Manuscript Format
The standard way editors, agents, and publishers want your manuscript formatted before you send it to them.
The cover page should be separate from the rest of the manuscript. It should include:
– name of the manuscript and author (or pen name)
– approximate word count (rounded to the nearest hundred)
– Your name, address, phone number, e-mail, and website
– Your agent’s details (if you have an agent)
font: Twelve point, Times New Roman or Courier New Black.
margins: One-inch margins on all four sides.
indent: Half-inch paragraph indentations for the first line of each and every paragraph.
space: Double space; no extra line between paragraphs.
align: Align left.
page numbering: Number pages beginning with the actual story (don’t count or put page numbers on the title page).
scene breaks: Indicate scene breaks by inserting a blank line and centering the number sign (#) in the center of the line.
page header: Include your last name, the manuscript’s title, and the page number in the page header of every page except for the title page. Align the header to the right.
chapters: Begin chapters on new pages (insert a page break or format using styles). Center the chapter title, even if it’s only Chapter One (or Chapter 1), about one-third of the way down the page. Skip a couple of lines and begin the text of the chapter.
end: Center a number sign (#) on an otherwise blank line one double-spaced line down from the final line of text of the final chapter or epilogue at the end of the manuscript. Or write The End. (The end should be labeled so an agent or editor isn’t looking for extra pages that aren’t there.)
italics: Use italics for italicized words (versus underlining them).
character spacing: Use a single character space, not two spaces, between sentences.
The standard document format is MS Word (.doc) If you have a newer version of MS Word, Open Office, Pages, or something else, save the document in .doc (This is usually found somewhere like, File>>Save As, “MS Word 97-2003 (.doc)” Almost everyone can read .doc files.)
Finally, check the publisher or agent’s website. Some will have specific fonts, spacing, or other ways they want things done that might vary slightly from the general guidelines.
For further study:
Steampunk
A subgenre of fantasy fiction which is largely determined by its setting, which is typically an alternative-Victorian reality, laden with steam-powered technology. Corsets are optional.
Stutter
Using the same word or phrase twice, recently enough that the reader remembers it; depends partly on how distinctive the word is. Can be distracting if not used intentionally.
Subgenre
A subcategory of a major genre. For example, “sword and sorcery” and “portal fantasy” are subgenres within the fantasy genre, while “cozy” and “noir” are subgenres within the mystery genre.
Subplot
A secondary thread of the story, with its own beginning, middle, and end, the subplot may or may not be directly connected to the main plot, and generally involves supporting characters.
For further study:
Substantive Editing
A detailed and complete editing of a book, involving not just suggestions for the overall story, but also line-by-line editing of the prose itself. This is the most intensive type of editing.
Subtext
The meaning beneath the dialogue—what the speaker really means, even though it’s being said directly.
For further study
- Subtext: The Art of Iceberging
- I Just Figured Out What All My Favorite Stories Have in Common—and It Blew My Mind
- The Only 5 Ingredients You Need for Story Subtext
- Find Out if Your Prologue Is Destroying Your Story’s Subtext
Summary
A description of the book’s content. Sometimes written as marketing copy—with a hook and no spoilers—to convince readers to buy the book. Sometimes written as a complete description of the plot—including spoilers—to convey the entire story to a potential agent or editor.
Synopsis
A detailed description of your story’s complete plot (including spoilers and the ending), written in either one or three pages, for the purpose of sharing with a literary agent.
Tagline
A line of text—usually a short, tantalizing sentence—which appears under the title of the book on the front cover and also in catalogue listings.
Telling
(In contrast to Showing): Conveying information by stating facts about them, instead of relating the movements or expressions of objects or players.
Examples:
Showing: The boughs bowed and swayed, dumping their icy load onto the quivering children.
Telling: The frightened children got soaked by a load of snow falling from the branches.
Showing: His face paled and his hands trembled as he slunk through the doorway.
Telling: He felt nervous and hesitated to enter the room.
- Telling Important Scenes, Instead of Showing
- Are Your Verbs Showing or Telling?
- Three Places Where You Should Tell Instead of Show
Theme
The moral statement at the heart of the story, usually a general, universal principle, which is then conveyed via the story’s specific message, as proven by the protagonist’s character arc and specifically his inner conflict between a Lie and a Truth.
For further study:
- Plot, Character, and Theme: The Greatest Love Triangle in Fiction
- Want a Powerful Theme for Your Novel? Play Devil’s Advocate!
- What’s the Difference Between Your Story’s Theme and Its Message?
Third Act
The final act in your story. In the classic Three-Act structure, the Third Act comprises the final quarter of the story, from the 75% mark to the 100% mark. It is primarily concerned with the final, climactic confrontation between the protagonist and the antagonistic force. It begins with the Third Plot Point, includes the Climax, and ends with the Resolution.
For further study:
- The Secrets of Story Structure: The Third Act
- Creating Stunning Character Arcs: The Third Act
- How to Write a Flat Character Arc: The Third Act
- How to Write a Negative Character Arc: The Third Act
Third Person
The uninvolved narrator of the story, who refers to the actual players by name or as he/she/they, e.g.: “Peter ran in and hugged Susan.” Contrast this with a “first-person narrative,” e.g.: “When I saw Susan at the bar, I ran up and hugged her.”
For further study:
Third Plot Point
The Third Plot Point in a story’s structure occurs in between the Second and Third Acts, at the 75% mark. This is where the protagonist experiences the lowest moment of defeat and is faced with a choice about whether the quest is worth the effort—symbolically representing whether or not the character will embrace or reject the Lie. The character then enters the Climax ready for the final confrontation with the antagonistic force.
For further study:
- Creating Stunning Character Arcs: The Third Plot Point
- Are Your Plot Points Too Weak?
- What Are Plot Points?
Three-Act Structure
The three-act structure is an approach to story structure that divides a fictional narrative into three parts, often called the Setup, the Confrontation, and the Resolution.
For further study:
Trope
A story element or plot device that is particular to certain genres or stories, to the point they become a storytelling cliche. Examples include love triangles in Young Adult fiction or the “chosen one” in fantasy and science fiction.
For further study:
Turning Point
A major moment in the story when the plot “turns” by changing in a dramatic way, almost always as the result of a “reveal” or twist that presents the characters with new information about the conflict.
Unreliable Narrator
The narrator’s unreliability might be obvious to the reader throughout, it might be revealed gradually, or it might come as a revelation that provides a major plot twist. Common examples are Vladimir Nabakov’s Humbert Humbert from Lolita and Alex from A Clockwork Orange. A lesser known example is Micky DeWitt from Flank Street.
Upmarket Fiction
A type of fiction that is an amalgamation between commercial fiction (something with a wide audience that fits into a typical genre) and literary fiction (something that doesn’t fit exactly into a standard genre classification). Upmarket fiction can appeal to audiences of both commercial and literary fiction. It offers exceptional writing that doesn’t fit into a mold, yet has the potential for mass appeal.
Urban Fantasy
A subcategory of contemporary fantasy, urban fantasy is set in a contemporary city. Often co-existing with the familiar city life is a hidden, magical aspect of the city frequently including magical creatures. Charles de Lint is one of the primary authors of urban fantasy. To some extent, Mark Helprin’s A Winter’s Tale is an urban fantasy as well as Neil Gaiman’s Neverwhere.
Voice
The tenor and style of a story’s narrative. Authorial voice is the “sound” unique to the author. However, each author can and will use multiple variations of voice for each character’s POV and dialogue as well.
For further study:
- Writing Voice: 6 Things You Need to Know to Improve It
- What Every Writer Needs to Know About Finding Your Writing Voice
- 6 Steps to Create a Fantastic Narrative Voice
World Building
(A) The act of designing a story world, including its culture, language, technology, magic, biology, landscape, history, etc. The author does this to build a consistent backdrop for the story. It is especially important for science fiction and fantasy (and even historical novels), in which the story world may be much different from the world readers inhabit.
(B) The art of distilling the elements of a story world, building the world within the minds of readers. This can be done through setting descriptions, exposition, dialogue, or character actions and interactions. In most cases, avoid info-dumping exposition and AYKB dialog. Instead, weave in the worldbuilding as a seamless part of the story itself.
For further study:
- Fantasy Worldbuilding Questions
- One Handy Way to Add Instant Originality to Your Fantasy Novel
- Are You Asking These Important Questions About Your Fantasy Setting?
- How to Decide if You Should Use a Real-Life Setting in Your Story
YA
Young Adult (Fiction), a genre aimed at adolescents ages 12-18. Often told in first-person with fast pacing. Focuses on new, fresh, “first time” experiences and coming-of-age experiences. There is often a strong romantic subplot. This genre, like romance, includes many other subgenres under it such as YA Romance, YA Fantasy, and YA Mystery.
WIP
Work-in-progress. The story or novel the author is currently writing.
Writerly
An adjective for when you say a writerly thing. If you wear a blazer with leather patches on your sleeves and sit at a coffee shop with your laptop, it could be said that you’re being writerly. 😉
Writer’s Block
A state in which the writer doesn’t know how to proceed with writing. It can result from simply not knowing what should happen next in the story, or from larger life issues, such as depression.
For further study:
- Conquering Writer’s Block and Summoning Inspiration
- 7 Things to Try When Writing Is Hard
- Are You Struggling to Be Creative? This Might Be Why
Zero Draft
The “vomit” draft, part of pre-writing. The writer “vomits” up whatever story ideas they have without concern as to structure, consistency, or sense. Used to a) explore world/worldbuild, b) explore/develop characters/character interactions c) develop and/or test plot elements d) anything the author wants.
Can You Think of Any Terms This Glossary Is Missing?
Help me turn this into a tool we can all reference and that will help other authors understand what it is we’re talking about when we use crazy terms like “logline,” “pinch point,” and “MS.” Post your suggestions and definitions in the comments, and I’ll update the list.
What a fantastic idea, K.M.!
Here we go…
Dialogue
Words spoken by a character, normally enclosed in quotation marks. Dialogue should sound realistic, without attempting to reproduce real speech verbatim.
Internal dialogue reproduces a character’s thoughts, and is often (though not always) indicated by italics.
Indirect dialogue, also known as reported speech, is a narrative summary of dialogue that’s taken place.
Dialogue tags and/or action beats let the reader know which character is speaking.
For further study:
https://www.helpingwritersbecomeauthors.com/8-tips-for-awesome-dialogue/
https://www.helpingwritersbecomeauthors.com/on-the-nose-dialogue/
THIRD PERSON
The uninvolved narrator of the story, who refers to the actuals players by name or as he/she/they, e.g. “Peter ran in and hugged Susan”. Contrast this with a ‘first-person narrative’, which may be present tense (“I gape at the sight of Susan standing at the bar, rush up and hug her tight.”) or past tense (“When I saw Susan at the bar, I ran up and hugged her.”)
TAGLINE
A line of text – usually a short, tantalizing sentence – which appears under the Title of the book on the front cover and also in catalogue listings, e.g.:
Title: Aquila
Tagline: Can Silvanus Escape That God?
SHOWING
(In contrast to TELLING): Conveying an atmosphere, emotion or mood by relating the movements or expressions of objects or players rather than stating facts about them, e.g. “The boughs bowed and swayed, casting their icy load onto the quivering children” instead of “The frightened children got soaked by a load of snow falling from the branches.” Or “His face was white and his hands trembled as he slunk through the doorway” instead of “He felt nervous and hesitated to enter the room.”
SUBPLOT
A secondary thread of the story, with its own beginning, middle, and end, the subplot may or may not be directly connected to the main plot, and generally involves supporting characters.
CHICK LIT
A genre fiction centered on contemporary women and women’s issues that is often written in a light, humorous pace, and that generally deals with the protagonist and her relationships with family, friends and/or romantic partners. Often referred to as women’s commercial fiction.
MENTOR
An experienced advisor who offers – sometimes reluctantly – to show the hero “the way”. Usually a trustworthy ally, the mentor figure will often impart an object or piece of information that will prove vital later in the hero’s quest. The name itself comes from a character in Homer’s The Odyssey.
Examples include: Obi-Wan Kenobi from Star Wars, Gandalf from Lord of the Rings, and “Irv” in Cool Runnings (a less-trustworthy mentor figure).
Good stuff, thx!
Trope—A story element or plot device that is particular to certain genres or stories, to the point where they become a storytelling cliche. Examples include love triangles in young adult fiction or the “chosen one” most common in fantasy and science fiction.
Protag/Protagonist—The character whom the story is about and who is most directly affected by the antagonist. This character may be the narrator/POV character (such as Harry Potter or Katniss Everdeen) or the protagonist may be a character who is viewed by someone else (as Atticus Finch and Heathcliff are viewed by Scout and Nelly Dean, respectively).
MC – Short for Main Character. The lead of the story.
Info Dump – An undesirable writing method where the author “dumps” a lot of information or extensive description on the reader all at once, instead of weaving the information into the action of the story.
Anti-Hero – A character who is not the main Antagonist, or a supporting character of the Protagonist, but one who opposes the hero or the hero’s ideas in some way.
An ANTI HERO is a protagonist who lacks conventional heroic qualities such as idealism, courage, and morality. These individuals often possess dark personality traits such as disagreeableness, dishonesty, and aggressiveness.
Like Captain Mal in Firefly or Holden in The catcher in the rye
I still don’t understand the concept of the anti-hero for some reason.
It is tricky. I think there are several definitions out there. Sometimes they are even split into Anti-Hero and Anti-Villain, but I still think that the application within stories of an Anti-Hero is pretty broad.
If you are still having difficulty, consider this, an Anti-hero is a hero who doesn’t act like a hero and who probably doesn’t want to be a hero or ‘good’ in the typical sense of the word. An anti-villain is a villain who acts more like a hero, but who ultimately proves themselves a villain even if they are ‘soft’. There are plenty of good broad definitions out there, but this helped me think of it in a broad sense.
Thx!
Let’s use the example of a evil lab. Inside the lab there are innocent people. The protag needs to destroy the lab. A hero would try to get all the innocent people out before blowing it up. While an anti-hero may just blow it up. In an anti-hero’s mind, the ends justify the means.
Thanks, all the examples are very helpful. Sounds like an antihero can play up a lot of drama.
STUTTER (WRITING)
Using the same word or phrase twice, recently enough that the reader remembers it; depends partly on how distinctive the word is. Can be distracting if not used intentionally.
BURLY DETECTIVE SYNDROME
Frequently referring to a character by a description (“the burly detective”), usually out of fear of overusing the character’s name or pronoun (see Stutter (Writing)).
Cool never heard of these.
May I add R&R? This one was driving me crazy when I was reading it. I had to search everywhere for the definition!
R&R: Revise and Resend/Resubmit
An agent or editor saw something they liked in your work but felt it need a significant revision. They’d like you to make the changes they suggested and resubmit it. It doesn’t necessary mean that they’ll take it though.
Done!
Good one. Never heard of it either.
Antihero:
1) An antagonistic character who bears personality traits commonly associated with noble and heroic characters
2) A heroic character who bears personality traits commonly associated with villainous or disreputable characters.
This is a popular one today. Third time I read it and it still makes no sense to me. Think my brain is shutting down and rebooting.
POV
“Point-of-view”
Whoo! You’re today’s super-definer!
HISTORICAL FICTION
A literary genre where the plot takes place in the past, often (but not always) including historical figures
So the only difference between regular fiction and historical is the time period correct?
As I understand it, that’s fairly accurate. Within that, though, excellently written historical fiction also tends to focus in a much deeper way on the details of bringing an unfamiliar era to life (which would be approached much differently/taken for granted in a story with a more contemporary setting).
As time passes, though, the historical “cut-off” date is always bumping up, so as you can see, the line between the two is sometimes rather transparent. 😉
For a bit more, you can read Katie’s article here: https://www.helpingwritersbecomeauthors.com/why-your-novel-may-not-be-historical/
Thanks! ?
PROLOGUE
A separate, introductory section to a work.
What a great idea! Awesome list worth sharing.
EPILOGUE
A separate section at the end of a work often commenting on the work as a whole/serving as an addendum.
CLIMATIC MOMENT-the moment in the climax where the overall goal is reached or not reached, the moment when the protagonist defeats the antagonist or visa versa
YA-young adult, usually a genre
BLURB-a short summary of what the book is about, meant to hook the reader
Pacing–the rate at which a story progresses and events unfold.
I wish I knew more about the pacing process. Some books are paced differently than others and wonder is there a method to the madness.
Most issues with pacing have to do with story structure. Check out Katie’s Structure series for more information (and the Story Structure Database for plenty of examples).
Stories can be divided into four roughly equal parts (Act 1, Act 2A, Act 2B, Act 3), each with its own mission relative to the story’s development, and the turning points (“Plot Points”) between them form the major story pacing milestones. Actually, you can divide the story even further with the Inciting Incident, two Pinch Points, and the Climax at the odd eighth marks.
Story structure is all about keeping things balanced and well-paced. If you can hit all the major milestones where they need to go, all the while raising stakes, conflict, and tension right up to the climax, your story’s pacing should take care of itself.
Wow, that’s awesome. That’s what I need to master. The elements of story structure. Thank you!
Oh, and the difference in pacing that you sense for different stories is more likely due to different types of conflict or story problem than to any difference in structure. Lots of action-based conflict will feel faster paced than relationship drama, but everything will still follow the same basic structure behind the scenes.
That’s true. I definitely sense it in movies and books. Didn’t know it was due to differences in conflict though. But looking back it makes perfect sense. Hindsight is 20/20 right?
Some books were unevenly paced in different parts but the overall story was great. The one I’m thinking of had a lot of relationship drama, so pace seemed slower.
Storming was very balanced in its entirety so I didn’t really notice the pace so much. I just felt drawn into the story. Finished Cinder and had the same feeling. Currently reading the Einstein Prophecy and it’s having the same balanced affect on me. The ones that are balanced tend to be page turners!
With cars if your tires are not balanced it could be a bumpy, not so pleasant ride. It seems even more so with story structure. Cool. I think I’m finally learning something!
If I drank, I’d grab a cool one.
Ditto what Scrutinizer said. Pacing demands are different for different types of stories, but the key is to make it so seamless that readers don’t even think about it. Glad you felt that way about Storming!
AYKB:
“As you know, Bob…”
A method of dumping exposition through dialog, infamous for its awkwardness and lack of realism. It involves an otherwise unnecessary conversation between two characters that the author forces on them solely to inform the reader of what the characters both already know. Writers often choose this technique to avoid taking the reader out of the story to reveal important background information, but it usually works against them by taking the characters out of the story instead.
For further study:
https://www.helpingwritersbecomeauthors.com/as-you-know-bob/
This one is funny. Had a hardy chuckle! I’m definitely guilty of AYKB.
Holy fudgeknuckles Batman, what a great idea! I Love it.
One of the most recent definitions I’ve thoroughly enjoyed is that of the impact character in relation to engineering character arcs. SO AWESOME. Seems like this impact character/s are strong catalysts for change in the protagonist causing inner conflict and help put the plot into motion. This has greatly helped my understanding of the story.
IMPACT CHARACTER=
1. “Impact character” probably isn’t at the top of your list. But it should be. Because you can’t create a character arc without one.
2. “Impact character” is the term coined by Dramatica authors Melanie Anne Phillips and Chris Huntley to describe what is just as accurately termed by editor Roz Morris the “catalyst character.” This is the character who slams into your protagonist, catalyzes him into change, and has a major impact on his life.
3. The impact character is the one who enables, empowers, or sometimes just plain forces another character(s) to change.
4. The impact character may be a friend, or he may be a foe.
5. If the antagonist represents the story’s outer conflict, then the impact character represents the inner conflict.
6. Just like the antagonist, the impact character is a conflict-causer. Just like the antagonist, he’s at odds with the protagonist. But unlike the antagonist, the conflict isn’t necessarily the result of opposing goals. Rather, its core is the opposing worldviews of the protagonist and the impact character. The protagonist believes the Lie; the impact character (lucky dog!) already knows the Truth.
Even in posting this I learned something new! Conflict helps produce plot. What’s a plot without conflict right? It’d be a pretty stale story. The conflict can be external and internal, and both are essentially related to the antagonist and impact character. So if I understand this correctly the impact character is the catalyst for change in the protagonist helping him/her overcome the inner conflict that enables them to overcome the outer conflict represented by the evil antagonist to achieve their goal to live happily ever after….or not.
Further reading: https://www.helpingwritersbecomeauthors.com/impact-character-2/
BETA READER
(paraphrasing from Google as it seemed like an excellent summary)
“Beta readers provide feedback during the writing and/or editing process and are not explicitly proofreaders or editors, but can serve in that context. Elements highlighted by beta readers encompass things such as plot holes and problems with continuity, characterization, and believability. In fiction and non-fiction, the beta might also assist the author with fact-checking.”
Novella: a story that runs around 40K to 50K words. Normally, it has no subplot and no more than two POV characters. One of the harder forms to sell traditionally, though I’ve ready recently this is changing.
Good one! I knew it was shorter but didn’t know the details.
Mimesis: where syntax echoes, mimes the narrative.
I’ll have research this one.
CONFLICT
The overarching opposition fueling the entire plot of a story and presenting obstacles to the protagonist on a macro and micro level.
….
(And btw, did I mention that I LOVE this whole idea?! THANK YOU SO MUCH! ;D)
YA – Young Adult (Fiction), a genre aimed at adolescents ages 12 -18. Often told in first person with fast pacing. Focuses on new, fresh, ‘first time’ experiences and coming of age experiences, and there is often a strong romantic subplot. This is a genre that, like Romance, includes many other genres under it such as YA Romance, YA Fantasy, and YA Mystery. Differentiate from NA – New Adult (Fiction) which is aimed at an older age group and focuses on new adult experiences such as the first serious relationship, first serious job, going to college, and moving out on their own.
MS
“Manuscript” (In writing lingo: a yet unpublished work whether written or typed)
Unreliable narrator.
The narrator’s unreliability might be obvious to the reader throughout, it might be revealed gradually, or it might come as a revelation that provides a major plot twist.
Common examples are Vladimir Nabakov’s Humbert Humbert, and Alex from A Clockwork Orange. A lesser known example is Micky DeWitt from Flank Street.
Alliteration:
A stylistic literary device identified by the repeated sound of the first consonant in a series of multiple words, or the repetition of the same sounds of the same kinds of sounds at the beginning of words or in stressed syllables of a phrase.
PROOFREADER
Someone reading through a completely edited work to find and/or correct typographical errors (i.e. typos).
SHELF TIME
The period of time when you put aside your work in progress, in order to be able to come back to it later with fresh eyes.
SUBTEXT:
is the meaning beneath the dialogue; what the speaker really means, even though he’s not saying it directly. As humans, we often don’t articulate our thoughts exactly.
Subtext in Dialogue – The Writer’s Toolbox – Ask The Writer – Gotham …
https://www.writingclasses.com › toolbox
I’d like to add “on submission” or “on sub” especially juxtaposed with being “in the query trenches”.
I recently heard two writers who are in the query trenches referring to themselves as being on sub and realized there is some confusion out there about the difference between the two.
Query Trenches: generally refers to looking for representation from a literary agent (although it is possible to directly query publishers)
On sub: your MS has been submitted, usually by your agent, to a list of editors at publishing houses who may or may not have agreed to read it.
Oh, that also makes me wonder if “house” was on your list, referring to publishers.
Thanks!
Perfect! Thanks, Merriam. I added “House” as well.
I am building a similar list myself, going beyond the ordinary of literary terms and picking what I think should be learned by all writers. A few of your words are on my lists. I welcome you to look through my list to see if it helps you. I did words for the A to Z challenge. I would list them here, but there are nearly 70 words.
AtoZ 2014: http://writing.chrisvotey.com/atoz-2014/
AtoZ 2015: http://writing.chrisvotey.com/atoz-2015/
Awesome! Thanks, Chris.
Kidlet: 1. a diminutive child. 2. term of endearment between parent/child; older to younger sibling.
Thank you, sincerely, for this resource. Definitely raised hand (!), baffled by various terms, WIP, MC, YA et al.
Hah. That made me laugh so hard I almost have to include in the glossary. 😉
LOL… that’s great, so glad to hear! 😀
Of all the things I’ve almost been included in, this would rank among the top!
Can’t credit for the idea, although sadly my memory fails to provide me with the name of whoever came up with the idea.
SIDEKICK :
These definitions almost seems to be too simplistic.
1. Sidekicks, by definition, are almost always with the main character, which allows the conflict to be ongoing
https://www.helpingwritersbecomeauthors.com/why-your-hero-needs-yappy-sidekick/
2. a person who helps and spends a lot of time with someone who is usually more important, powerful, etc. (Merriam-Webster)
You go, you guys! This is awesome. We’ll have this puppy filled out before you know it.
A scene is a sequence of events that happens at a particular place and time and that moves the story forward. The scene consists mostly of “showing” though it may contain some “telling.” The scene has a particular structure that gives the story motion.
Showing using the following tools:
• Action.
• Dialogue.
• Interior Monologue.
• Interior Emotion.
• Sensory Description.
Telling using the following tools:
• Narrative Summary
• Exposition
• Description
I like this one. Thx!
Creative Nonfiction:
The use of literary style and writing technique to tell a true story. It’s an embellishment, but only for the sake of telling a story that teaches a lesson or conveys a change of heart or mind. Narrative, dialogue, setting, and voice are just a few creative writing tools used to grab a reader’s interest and leave them changed somehow at the end.
I echo many of the other commenters: this is a great idea!
Here’s a definition you could add:
COPY EDITING
The process of ensuring that a piece of writing is correct and consistent in terms of grammar, spelling, and punctuation; that it is logically structured and audience-appropriate; and that the intended meaning of the text is communicated clearly through suitable word choice and style.
For Further Reading:
https://www.helpingwritersbecomeauthors.com/how-i-self-edit-my-novels-15-steps-from/
Nice. I’ll have to follow that link for more info. Thx.
If you are going to include AYKB, you should also have the Dumb Mechanic dialogue.
Dumb Mechanic
Where a character explains something to a character who doesn’t know what they are talking about. The example from the name is a mechanic explaining what is wrong with a machine to someone who knows nothing about mechanics. It’s vital that the lack of knowledge needs be real and believable. It also needs to be limited to the needs of the moment. So a gear-head stopping to fix a lawyer’s car might explain a air bubble in the gas line, if that was the problem, but not how an engine works in detail.
I’m learning stuff here too! I’d never heard it called that.
Here’s one that wasn’t on the list but which you might want to include:
PREWRITING
The first stage of the writing process, which generally includes brainstorming, planning, mapping, researching, and outlining. Prewriting encompasses everything a writer does before beginning the first draft, and it accomplishes such goals as determining the intended theme, organizing plot points, and establishing characters.
For further study:
https://www.helpingwritersbecomeauthors.com/6-tasks-youll-love-yourself-for-checking-off-your-nano-pre-writing-list/
https://www.helpingwritersbecomeauthors.com/book/outlining-your-novel/
Good one! Thanks!
SWEET. I absolutely adore prewriting. I’ve never heard it defined like this.
At first I was like “Pshaw! I know tons of writing terms! And then I started to scroll down the page and my mouth dropped open. MFC? SF? SFF? What? I need this index! What a brilliant idea, K.M.Weiland. 😀
Hah. I’m learning stuff too!
ALPHA READER
An alpha reader is among the first to read a completed manuscript (MS) or work-in-progress (WIP) and is usually a close friend of the writer. The role of the alpha reader is to provide cheerleader-like support and encouragement rather than constructive criticism.
See also: BETA READER
I’ve provided a personal take on the subject here: http://www.iennivens.com/advice-for-new-writers-in-an-age-of-interactivity. Feel free to link to or borrow from my post if you find it helpful in clarifying the role.
Nice! Never heard of the alpha reader.
The glossary idea is great with lots of good info.
Although I feel like a babe taking in his mother’s milk, growing and making sense of the world around him.
Gotta go, think I’ve got a poopy diaper.
Thank you for all your contributions!
I should be thanking you for all of your contributions ?
Tried my best to come up with some definitions. I hope this helps!
FIRST PERSON
A point of view where the main character of a story is also the narrator. The reader “sees” through the eyes of the main character, so to speak. It uses pronouns such as “I,” and “me.” E.g., “I walked into the house.”
EXPOSITION
The part of the story where background information about characters, events, setting, etc. is provided. Generally, the exposition can be found at the beginning of the story. However, other background information can be placed throughout the story as it is needed.
I’m amazed you didn’t have “writer’s block” entered. Could it be a case of… you know?
Hah. Must have been. Please feel free to add your definition!
In case you haven’t already Googled this.
Novellette
A short novel that is often about romantic relationships and is usually not very serious. Word count is 7,500 to 17,500 words.
Thanks K.M. This is very cool and a lot of work. Cant’ wait to see the final version.
If you have “Scene,” you should probably also have “Sequel”:
(A) A self-contained story that continues within the world of a previous story. It typically follows the characters, setting, or themes from the original, but with a new story premise and problem.
(B) The second half of a Scene, following the scene (goal, conflict, disaster). It contains the reaction, dilemma, and decision that the character has in response to the events of the scene.
For further study:
https://www.helpingwritersbecomeauthors.com/how-to-write-a-sequel-thats-better-than-the-first-book/
https://www.helpingwritersbecomeauthors.com/how-to-structure-scenes/
https://www.helpingwritersbecomeauthors.com/structuring-your-scenes-pt-7-three/
To finish up the acronyms:
MMC:
“Main Male Character”
The male lead in a romance story. Usually gets the girl in the end.
MFC:
“Main Female Character”
The female lead in a romance story. Usually gets the guy in the end.
MG:
Middle Grade fiction, targeted to children ages 8 to 12 years old. Typically features a main character in the same age range and avoids “mature” content such as graphic violence or sexually explicit material. That’s not to say the stories are simplistic, of course.
SF:
Science Fiction, aka Sci-Fi.
Fiction that incorporates scientific elements such as futuristic societies, advanced technology, and alien worlds. Though usually aiming for scientific plausibility, it ranges in realism from currently understood physics and biology to highly speculative science.
SFF:
Science Fiction & Fantasy.
A combined genre of speculative fiction. Sci fi typically aims for scientific plausibility, while fantasy often incorporates magical systems. Stories may contain elements of both or be exclusive to one or the other, but all such stories explore fantastic worlds and scenarios.
And speaking of SFF,
Worldbuilding:
(A) The act of designing a story world, including its culture, language, technology, magic, biology, landscape, history, etc. The author does this to build a consistent backdrop for her story. It is especially important for science fiction and fantasy (and even historical novels), where the story world may be much different from the world that the readers inhabit.
(B) The art of distilling the elements of a story world, building the world within the minds of readers. This can be done through setting descriptions, exposition, dialog, or character actions and interactions. In most cases, avoid info-dumping exposition and AYKB dialog. Instead, weave in the worldbuilding as a seamless part of the story itself.
For further study:
https://www.helpingwritersbecomeauthors.com/are-you-asking-these-important/
GHOST WRITER
One who undertakes the physical labor of writing an article, book, or memoir for someone else, usually in secret.
One who produces written content as a third party for someone else, nominally for a fee in exchange for all credit for said written content belonging to someone else.
On another note, I will pay whatever you ask for this book when it’s done.
For now, it’s a totally free resource!
Your description for alliteration is a good one, but for newbies adding an example would be helpful too. “Peter Piper Picked a Peck of Pickled Peppers”
For Passive Voice: on FB the other day, I saw a post that said, “If you can add ‘by aliens’ at the end of the sentence, then it’s passive voice.” Example: “The light was left on in the kitchen—by aliens.” 😀 Give them an example to correct it: “James left the light on in the kitchen.” Gotta say, when I first started writing, passive voice is one that drove me nuts and nearly had me bashing my computer.
Chekhov’s Gun – This is a dramatic principle that requires every single element within a story to be necessary and irreplaceable. The term ‘Chekhov’s Gun’ was coined when Chekhov wrote a letter to A.S. Lazarev, stating that if you have a loaded gun in one scene, it must be fired in one of the subsequent scenes in order to avoid being superfluous. If you give something attention, such as the gun, it must be because it has some import later in the narrative.
Scene structure: the division of a Scene into a scene (the action that happens when a character has a goal, then conflict interferes with that goal and there is an outcome) and its sequel (the character reacting to the previous outcome, then facing a dilemma, and finally making a decision about it that will determine what the character’s goal is in the next Scene)
Plotter: a writer who prefers to write a book /after/ going through an outlining process
Pantser: a writer who prefers to write “by the seat of his/her pants,” meaning, without previous outlining
Outline: a sketch of every event that makes up the structure of a story, which is written before a first draft to edit out any structural weak spots beforehand
Archetype: a ‘type’ of character which is commonly repeated across literature: the mentor, the magician, etc.
Cliché: any situation in a story that has been used too many times in literature, and becomes cheesy to readers.
Cliffhanger: the ending of a chapter or book in a moment of high suspense and tension, used to compel readers to read on or buy the next book in an installment.
Dystopia: genre of literature that focuses on a form of organization of society in the future (typically post-apocalyptic) that is dysfunctional.
Flashback: short narration that breaks a story’s linear time sequence by showing the past.
Flashforward: short narration that breaks a story’s linear time sequence by showing the future.
LOVE INTEREST
A principle secondary character for whom the protagonist has romantic interest (and/or the romantic subplot itself).
END MATTER
The additional parts of a book appearing after the main body of the text (i.e. acknowledgements, historical notes, explanatory notes, end notes, an afterword, index, bibliographies, and appendixes). Also called Back Matter.
Dystopian: This describes an imagined community, society, or world, in which everything is unpleasant or undesirable. It is the opposite of utopian, and literally means ‘bad place’.
Love this! Here are my offerings.
MARY SUE (fem.) (MARTY-SUE – (male.)) – began by fan fiction writers but now in writers general vocab. A derogatory term for a character than is able to do everything, the perfect heroine, with ultimate abilities. Not always a female, but can be used to describe any character with unrealistic abilities.
HEA – Happily Ever After – Romance writers use this to describe a genre as well as a moment. “A great HEA read.” Or, “you do get your HEA.” Most often seen with Harlequin and the “cozy” genre. (I went a long time thinking this was a genre all its own!)
COZY, also known as COZIES – a mystery novel that is usually a bloodless crime, with very little violence, sex or coarse language (but not always a pure “clean-read.”) Usually the person solving the crime is an amateur and has the support/friendship of a police officer/detective/medical examiner. Readers usually identify with the main character because they are positive and socially acceptable (even their small faults).
FRONT MATTER
The material preceding the main body/text of a work: including the title pages, printing/publishing data and/or a table of contents, foreword, preface, author’s note, dedication, etc.
ANTAGONIST
There can be multiple antagonists in a story, but ultimately it’s the greatest character standing in direct opposition to and blocking the protagonist achieving his story goal.
This is awesome, you guys! Keep it up. We’ll have this thing filled out in no time.
ACTIVE VOICE:
The opposite of passive voice. Example: Beautiful giraffes roam the savannah. (active)
As opposed to
The savannah is roamed by beautiful giraffes. (passive)
BLACK MOMENT/LOW MOMENT:
The part in the story at which everything looks hopeless and the situation is at its lowest point. Usually directly precedes the climax.
DENOUEMENT:
The wrap up after the story is done. The wind down from the action of the climax. Sometimes not included in the full arc of the story, but tells afterward details.
DEUTERAGONIST:
A secondary protagonist and the driver of a subplot. Can be a sidekick.
Great idea! I wish I’d had one of these when I started writing. 😛
You might want to include what active and passive voice actually are, rather than just opposites. With active voice, the person or thing performing the action serves as the subject of the sentence, whereas with passive voice, the subject is the person or thing being acted upon. I really like your examples, though.
Perfect! I combined both of your comments for a solid definition. Thanks!
Great! One typo, though: you wrote “(passive)” twice under Passive Voice. I’m pretty sure the second one should be “(active).” With the massive surge of input you’ve been sorting through, though, it’s an understandable mistake.
Excellent! Thanks for catching that.
In linguistics, the actor in a sentence is called the “agent,” and the passive receiver of action is called the “patient.” These are independent of “subject” and “object,” but which is which determines the voice of the verb.
Wow, 100 comments already! It’s really a testament to the effectiveness of your content and teaching style, Katie, that you can recruit so many enthusiastic contributors so quickly. And that includes those of us who normally don’t say anything but who really appreciate all that you do here. You’re probably my favorite blogger on writing, and I’ve read a lot. Thank you so much for making resources like this!
Aw, that’s very kind of you. Makes my day to hear you’re finding the site useful! And a super-huge thanks to you and everyone else whose enthusiasm for this project has been so infectious!
I know awesome isn’t it? Ah, splendid indeed. 🙂
This is really taking off. Great job guys!
Okay, I’ve been thinking about it all day and feel like my first definition for this was kind of rambly, so I’ll try again. But feel free to take it or not as it works! 😉
ANTAGONIST
One standing in opposition to/thwarting the protagonist.
I like it. Simplicity is bliss!
Upmarket Fiction: A type of fiction that is an amalgamation between Commercial Fiction, something with a wide audience that fits into a typical genre, and Literary Fiction, something that doesn’t fit exactly into a standard genre classification. Upmarket Fiction can appeal to both audiences; exceptional writing that doesn’t fit into a mold yet has the potential for mass appeal.
SPECULATIVE FICTION:
1. speculative fiction. noun. 1. a broad literary genre encompassing any fiction with supernatural, fantastical, or futuristic elements.
Speculative fiction – Dictionary.com
dictionary.reference.com/browse/speculative-fiction
2. Speculative fiction: is a term often attributed to Robert A. Heinlein (July 07 1907-May 08, 1988) an American novelist and science fiction writer.
Speculative fiction is a fiction genre speculating about worlds that are unlike the real world in various important ways. In these contexts, it generally overlaps one or more of the following: science fiction, fantasy fiction, horror fiction, supernatural fiction, superhero fiction, utopian and dystopian fiction, apocalyptic and post-apocalyptic fiction, and alternate history. It is often used as an umbrella term for science fiction and fantasy considered as a single genre. The term is used this way in academic and ideological criticism of these genres, as well as by some readers, writers, and editors of these genres.
Further reading:
a. http://www.goodreads.com/genres/speculative-fiction
b. http://www.greententacles.com/articles/5/26/
URBAN FANTASY:
A subcategory of contemporary fantasy, urban fantasy is set in a contemporary city. Often co-existing with the familiar city life is a hidden, magical aspect of the city frequently including magical creatures. Charles de Lint is one of the primary authors of urban fantasy. To some extent, Mark Helprin’s A Winter’s Tale is an urban fantasy as well as Neil Gaiman’s Neverwhere.
CYBERPUNK:
Cyberpunk explores the fusion between man and machine. A key element is the perfection of the Internet and virtual reality technology. In a cyberpunk novel, characters can experience and interact with computers in a 3D graphic environment so real that it feels like a physical landscape. The society in which cyberpunk is set tends to be heavily urban, and usually somewhat anarchic or feudal. The “father of cyberpunk” is William Gibson, author of the seminal cyberpunk novel Neuromancer. Eos authors defining this ever-evolving virtual reality include Neal Stephenson and Rudy Rucker.
EPIC FANTASY:
Sweeping in scope, epic fantasy usually concerns a battle for rulership of a country, empire or entire world. Drawing heavily upon archetypal myths and the quintessential struggle between a few good people against overwhelming forces of evil, epic fantasy is best represented by author J. R. R. Tolkien’s classic The Lord Of The Rings trilogy. Eos authors of epic fantasy include New York Times bestselling Raymond E. Feist (The Serpentwar Saga) and Adam Lee (The Dominions Of Irth). Some other popular epic fantasy authors are Robert Jordan, David Eddings, Terry Brooks.
COURT INTRIGUE:
A subcategory of epic fantasy that’s currently popular and is the fantasy equivalent of Dumas’s The Three Musketeers. Good examples of this are Robin Hobbs’s Assassin trilogy, George R. R. Martin’s A Song Of Ice And Fire trilogy, Martha Wells’s The Element Of Fire, and Avon author Dave Duncan’s upcoming The King’s Blades trilogy.
Further reading: https://www.sfsite.com/columns/amy26.htm
Line editing and proofreading:
This form of editing means going over a manuscript line by line and editing it for grammar errors as you go. It doesn’t entail any extensive rewriting, but there may be some use of color editing to liven up flat prose, and there may be some reduction of redundancies (such as repeated information). Basically, line editing and proofreading checks for the most basic of grammatical and syntax errors. This style of editing may include the use of a style guide, such as the Chicago Manual of Style.
Forgot to add further reading :
LINE EDITING https://www.helpingwritersbecomeauthors.com/the-importance-of-professional-editing/
Two quick questions. One stupid and the other… well, probably it is as well.
Stupid 1st: Court Intrigue is a sub-category of Epic Fantasy, how so? It gives examples through titles, which, unless you’ve read at least one… it is simply epic fantasy on a micro-cosmic level, instead of vast expanses, contained within the halls of power of a single kingdom/province/village?
2nd: I’ve been checking back pretty frequently reading through the list, familiarizing myself with the terms; and scrolling down it’s easy to confuse the glossary terms with the links from the previous term (especially between antagonist and antagonistic force. Is there anyway to make the terms standout a bit more from the previous entry? It may be just a matter of making the term font size a tad bigger to distinguish it from ‘further study’/link size… or me paying a bit more attention as I scroll… probably best option.
comment awaiting moderation… back on probation…
typo, ‘it is simply epic fantasy” should read ‘is it…’ it’s supposed to be a question, not a statement. Thanks.
Yeah, sorry, I’m not sure why this got flagged for moderation. Anyway…
This is actually the first I’ve heard of the court intrigue sub-category for fantasy as well. I like the sound of it though!
I’ll have to take a look at the design overall and see if I can improve it. Thanks for the suggestions!
“exceeded stupid question filter settings” would be my guess
I have to apologize to you. If I’d sit on the question for an hour or two, did some thinking/looking on my own, might figure it out without troubling you in the process.
It was the first time I’d heard of it as well (court intrigue) and it was great to cross-reference with epic fantasy. If it is a microcosm of (which would make sense being cited as a sub-category) Wolf Hall would also fit that as an example. Made for some incredibly intense drama.
You know what, the formatting works. You’ve put in a ton of work already to make this available and I should sit here and comment on font size!
Again, my sincere apologies.
No, not stupid at all! Good questions both, although I think I will leave the format of the glossary as is for now.
Thank you, very gracious.
Glad about the format! … although, when you do get around to it, may I request a projected holographic rolodex interface with voice activated search… if that wouldn’t be not too much trouble.
Your wish is my command. 😉
woo-hoo, looking forward to it! ;-D
Hey guys,
I’ll try to do some more research and find a better definition for court intrigue then I’ll be back. What I’ve found so far sounds pretty intriguing! Pun unintended.
Salut,
So what I’ve discovered is that Court Intrigue is a subgenre of Epic or high fantasy and is a relatively new thing. Wow. I never realized how many sub-genre’s of fantasy there are! The genre’s are almost as diverse as the writers themselves.
The term high fantasy (also epic fantasy) generally refers to fantasy that depicts an epic struggle between good and evil in a fantasy world, whether independent of or parallel to ours. The moral concepts in such tales take on objective status, and are not relative to the one making the judgement.
(https://www.worldswithoutend.com/resources_sub-genres.asp)
What is Court Intrigue Fantasy?
Lawyers dueling in court rooms! Jury tampering! Okay, so not that kind of court. More like a royal court— think castles, thrones, and royal successions. Is Scar’s solo from The Lion King coming to mind? Absolutely! These stories have lots of layers and conflict, though not necessarily physical conflict, more behind the scenes conniving and pulling strings. These are complicated stories full of intrigue. Moreover, the characters are clever—usually on both sides of the aisle.
There is a significant level of world-building in Court Intrigue stories in order to create a believable government with intricate hierarchies as well as several nations with complex relationships.
* Level of Magic
Variable. The level of magic in Court Intrigue Fantasy varies by world and is not a defining feature of the sub-genre. In some stories magic is barely present and not a factor in the storyline; in other stories magic is key to plot development and the possession of power.
High. These stories do not usually have grand ideas, but there are plenty of social implications involved in the goings-on of a palace court. The idea of power and ideas of black and white are themes commonly explored in Court Intrigue.
* Level of Grand Ideas and Social Implications
High. These stories do not usually have grand ideas, but there are plenty of social implications involved in the goings-on of a palace court. The idea of power and ideas of black and white are themes commonly explored in Court Intrigue.
* Level of Characterization
Moderate-High. Character development can sometimes be overshadowed by world building and plot development. However, characters are significant players in Court Intrigue stories and therefore tend to pop off the page. A common characteristic in this sub-genre is the morally gray areas of people’s lives, which gives readers more realistic characters.
* Level of Plot Complexity
High. Unraveling a plot full of twists and turns is the hallmark of the Court Intrigue sub-genre.
* Level of Violence
Moderate. Conflict is a significant part of all Court Intrigue stories, but it is not always violent. There are, however, often wars or the threat of war looming on the edges of the story. Sometimes, even, conflicts are resolved through violence, but in secret.
FURTHER READING
1. Best Fantasy Books: http://bestfantasybooks.com/court-intrigue-fantasy.html
2. School Library Journal: Court Intrigue http://blogs.slj.com/adult4teen/2014/09/10/court-intrigue/
3. Popular Court Intrigue books by Good reads: https://www.goodreads.com/shelf/show/court-intrigue
Fascinating! Thanks for digging this up for us.
Benjamin, I agree with Katie, thank you… like hitting a vein of ore.
No problem. It was fun and I learned something in the process.
Flash Fiction
Extremely short fiction. Some flash fiction markets have a limit of 53 words, while others allow up to 1000 words. Like longer fiction, flash fiction includes conflict and resolution, but some elements may be implied for the sake of brevity and left to readers’ imaginations. Due to its extreme brevity, flash fiction tends to focus on one turning point or revealing moment.
Awesome thanks!
Bread, Eggs, Milk, Squick –
– She watched though the window as the stupid man ate his precious eggs, bacon and toast. She had to muffle her mouth when he gulped down half of his juice and then vomited it out. Ha, hurt my sister do you? Tomorrow was going to be fun. She smiled, and it grew wider as she walked off to school.
or:
1. wash the dishes.
2.Wash the laundry.
3. Bury the mailman in the backyard.
Or:
“I love D.B.Z, books and wearing peoples skin.”
I think I got it right correct me if I’m wrong.
It means:
(Forgive me my books are a little twisted.)
I’m probably being dense, but this doesn’t make sense to me. :p What are you defining?
A character is speaking a list, and the last item in the list is darker or more disturbing than the rest.
Squick means:
Quote:
“Possibly a contraction of “squeamish” and “Ick!” A negative emotional response, more specifically a disturbed or disgusted one.”
http://tvtropes.org/pmwiki/pmwiki.php/Main/Squick
http://tvtropes.org/pmwiki/pmwiki.php/PlayingWith/BreadEggsMilkSquick
Thanks! I’ll have to look into that. First I’ve heard of it!
You’re welcome. 😀 I love Tv troupes. Beware, the site is addicting and you can get lost reading in there for hours.
Steampunk: A subgenre of fantasy fiction which is largely determined by its setting, which is typically an alternative-Victorian reality, laden with steam-powered technology. Corsets are optional.
Dieselpunk: A subgenre related to Steampunk, although it is driven more by the culture of the 1920s through the early 1950s. Technology is strongly influenced by diesels.
Beats: A term closely related to outlining. Basically, a description of the important action to take place in a story. May or may not be incredibly thorough, but is likely to hit the highlights of the important action of the story.
Corsets are optional? That’s so wrong. 😉
I don’t know if this matches with the ‘official’ definition.. you can ignore it if you like.
A content editor looks at big picture stuff: character arcs, plot arcs, whether the story has a consistent tone. Also may comment on POV issues and/or narrative voice. A content edit is the first edit a story should go through after the rough edges have been knocked off the first draft as your editor may suggest major changes which will waste effort polishing too much.
As an aside not necessarily for publication I’ve been know to move chapters about, suggest cutting them completely, or change the POV character in a scene. I think the hardest thing I ever suggested was changing a first person, multiPOV to third person limited.
I send a fair number of clients to your blog, this glossary is one of the reasons why.
That’s great! Thanks, Alex!
Developmental Editing
Editing concerned primarily with the structure and content of a book that starts near the beginning of the manuscript’s life. A developmental editor works to give the book focus and direction (mostly towards what is “marketable”) by helping to develop author’s ideas, and so will point out inconsistencies in aspects such as logic, voice, and audience.
Definition influenced by The Longman Guide to Technical Editing by Carolyn D. Rude (2006)
and
“What is a Development Editor and What Can You Expect?” by Jane Friedman (2014, Sept 8) https://janefriedman.com/developmental-editor/
Resonance: The power to evoke enduring images, memories, and emotions.
Good one!
Logline: Single sentence story summary. See Premise Sentence.
For further study: 6 Reasons a Premise Sentence Strengthens Your Story
(thank you for the crucial clarification! lol… and alliteration tie-in!)
You’re welcome, I find the site helps me when I’m stuck or write my self into a corner. Most of the stuff on there is so oddball that it can get things moving again.
Standard Manuscript Format
The standard way that editors, agents, and publishers want your manuscript formatted before you send it to them.
The cover page should be on a seperate page from the rest of the manuscript. It should include:
– name of the manuscript and author (or pen name)
– approximate word count (rounded to the nearest hundred)
– Your: name, address, phone number, e-mail, and website
– Your agent’s details (if you have an agent)
font: Twelve point, Times New Roman, or Courier New black
margins: One-inch margins on all four sides
indent: Half-inch paragraph indentations for the first line of each and every paragraph
space: Double space; no extra line between paragraphs
align: Align left
page numbering: Number pages beginning with the actual story (don’t count or put page numbers on the title page)
scene breaks: Indicate scene breaks by inserting a blank line and centering the number sign # in the center of the line
page header: Include your last name, the manuscript’s title, and the page number in the page header of every page except for the title page. Align the header to the right
chapters: Begin chapters on new pages (insert a page break or format using styles). Center the chapter title, even if it’s only Chapter One (or Chapter 1), about one-third of the way down the page. Skip a couple of lines and begin the text of the chapter.
end: Center a number sign # on an otherwise blank line one double-spaced line down from the final line of text of the final chapter or epilogue at the end of the manuscript. Or write The End. (The end should be labeled so an agent or editor isn’t looking for extra pages that aren’t there.)
italics: Use italics for italicized words.
character spacing: Use a single character space, not two spaces, between sentences.
The standard document format is MS Word (.doc) If you have a newer version of MS Word, Open Office, Pages, or something else, save the document in .doc (This is usually found somewhere like, File>>Save As, “MS Word 97-2003 (.doc)”
Almost everyone can read .doc files)
Finally, check the publisher or agent’s website. Some of them will have specific fonts, spacing, or other ways they want things done that might vary slightly from the general guidelines.
To see screen shots of what this looks like: http://www.marlyspearson.com/formatting_101.htm
Good one!
My humble opinion (and excuse me for my clumsy English, please)
Archetype is more than a type of character. It’s, according to its etymology, an ideal of that figure or character.
Same as a Stereotype is more typical, almost a cliché.
Great idea!
Red Herring – a false clue meant to mislead the reader. It creates a false trail for the reader to follow. A red herring can be an object, a character, part of the setting or any other way the author can think of to mislead.
Foreshadowing – Building subtle information for later, hinting at what is possible or what is to come. A successful job at foreshadowing will result in the reader thinking “I should have guessed that!” when the moment comes.
Backstory – Inserting information about events or thoughts that shaped the characters or story world.
Thank you, Andrea!
RE: Dumb Mechanic
See also, “As you know, Bob” (Where a character tells another character something he already knows.) The Dumb Mechanic is slightly better writing than “As you know, Bob”, as the author has at least tried to fix the problem, but the core problem is the same.
Thanks, Aaron!
I’d like to add the term “zero draft” to list. I’ve found the concept helpful.
Zero Draft
The “vomit” draft, part of pre-writing. The writer “vomits” up whatever story ideas they have without concern as to structure, consistency, or sense. Used to a) explore world/worldbuild, b) explore/develop characters/character interactions c) develop and/or test plot elements d) anything the author wants.
Further reading:
http://terribleminds.com/ramble/2015/10/06/how-to-outline-during-national-plot-your-novel-month/
http://terribleminds.com/ramble/2011/09/14/25-ways-to-plot-plan-and-prep-your-story/
I’ve found the zero draft a useful concept as a pantser. It can be the most terrible piece of writing in history and it doesn’t matter because it’s not a “real” draft, it’s just exploratory. It helps me find my plot and get to know my characters without having to commit to anything.
Sounds like my outlining phase!
MPS
Missing Parent Syndrome
The rather common occurrence, usually found in works of fiction where the protagonist is underaged, where the parents and/or guardians are somehow left out for the majority of the plot. This can be due to death (Frodo in Lord of the Rings,) or boarding school (Harry Potter,) or visitation to another world (Narnia,) or just about any other reason.
Drabble: Something you write for fun. Or practice. Or both. Both is good.
Perhaps this was previously mentioned, but I think you should add Pitch to your list and how it is similar or different from a synopsis. I am actually trying to figure this out at the moment, and so I don’t have a definition to go with it.
This is absolutely brilliant! Thank you. You are missing a definition for Plot. I suggest:
PLOT:
1. The series of escalating conflicts that tell the story of the characters progression toward the climax.
2. The writer’s evil plan (thus “plot”) to ruin someone’s life for the edification and/or amusement of others.
Those are the one’s I use. It was a nightmare to find or construct good simple definitions for Plot.
Hiya Kate,
Don’t know how I missed this post before now. Off the top of my head…
McGuffin
Designing Principle
Story Logic
Story Arc
Under Conflict – Internal Conflict; External Conflict
If I think of any more, I’ll pop back over. Hope these help.
Diogeneia
Wow! Excellent and comprehensive list! I learned from it that some concepts I knew were “a thing” (like AYKB 😀 ). I don’t know if this is within your scope; however, I do recall that as a fledgling writer, “onomatopoeia” was a word I saw often. I had no clue what it meant until I broke down and opened a dictionary.
One of my favorite words! 😀
Mine too, along with kerfuffle, flibbertigibbet and persnickety. Defenestration is right up there, too. 😀
Drabble… fiction of almost or exactly one hundred words, but not over. Flash fiction… short pieces of fiction written within a 24-48 hour period.
Drabble’s a new one to me. Thanks!
Wow, this info is really useful! some of these writing terms were actually new to me so thank you for this list! I remember when I didn’t even know what MC meant! haha