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🗓️ 4 November 2011
⏱️ 7 minutes
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0:00.0 | Grammar girl here, November is National Novel Writing Month, better known as NANO-RIMO. |
0:05.9 | So in honor of all the people who are writing a novel this month, today's podcast is by |
0:10.1 | the International Best Selling Author and Writing Teacher, David Farland, about why word choices |
0:15.6 | matter and how you can choose the right words to incite your reader's imagination. |
0:21.4 | Every author who's ever stared at a blank page knows the primary difficulty in telling |
0:25.6 | a story, which is that whatever we write immediately begins to constrict us to constrain |
0:31.1 | us into telling a certain type of story. |
0:34.7 | In short, if I begin by describing a space battle between two partnerships, I've suddenly |
0:39.8 | narrowed my tail to a science fiction piece. |
0:42.8 | I can't very well turn it into a Victorian romance or a fantasy tale set in a completely |
0:47.9 | imagined world. |
0:49.9 | The opening might even restrict our tone. |
0:52.8 | Starting off with an adventure beat doesn't allow me very easily to slip into a romantic |
0:57.0 | scene, doing so would require a little setup. |
1:01.2 | Nor does the adventure scene naturally allow me to leap into a flashback where our protagonist |
1:05.6 | felt a terrible loss when his best friend moved away. |
1:09.2 | Once again, we need more setup. |
1:11.8 | So the scenes that we begin with define and narrow the kind of story that we can tell, |
1:16.9 | and at a much smaller level, our word choice does the same. |
1:21.9 | Researchers need to be precise in their use of language in order to avoid confusing |
1:25.4 | a reader. |
1:26.4 | I like the quotation from Mark Twain, who's credited with saying that the difference |
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