Graham Greene's The End of the Affair is absolutely one of my favorite books. The writing is lyrical and story heart-wrenching and beautiful. Greene's style of writing is such that he always has me gripped, whether it's the beginning of the book or the end. And he shows you so much about the character in his opening lines.
So, here are the first two paragraphs from the book:
A story has no beginning or end: arbitrarily one chooses that moment of experience from which to look back or from which, to look ahead. I say 'one chooses' with the inaccurate pride of a professional writer who - when he has been seriously noted at all - has been praised for his technical ability, but d…
I have twenty or thirty notebooks and journals filled up with snippets about writing, my plans for stories, bits of dialogue, interesting ideas, plotlines, scraps of short stories, and a dozen other things. I carry one with me at all times and it takes me a couple of months to fill one up.
One of the things I've kept in one of my notebooks was a collection of writing tips and rules that I've collected over the years in my travels. From teachers, from books, from wherever. Most of my career has been spent screenwriting, so a lot of these are most applicable to that, but I wanted to present them so they might be of use to you as well.
I've never stopped collecting these over the years and I never will.
To start the list are Kurt Vonnegut's eight rules of writing. They are the first in my notebook and, I think, the most useful. I'll add a star to those I think are applicable most to screenwriting. Some of these aren't applicable to everyone in every situation, but…
I was asked to talk today about how you build a world without bogging down your novel. And it's something you see all too much of, not just in the work of those working toward becoming professionals, but in professionally published manuscripts as well.
Part of the problem is that writers become so in love with their world that they hit you with as much of it as they can right from the beginning. There are dumps and dumps of exposition that are supposed to paint a vibrant world, but too many colors of paint hit the canvas and instead of a beautiful sunset and a happy little tree, you're looking at a big smudge of brown where too many colors mixed.
That's not to say you can't get away with some florid description. Sometimes, my favorite passages in books are descriptions of the world that leave my breath taken.
But you don't need all of it in your book.
The question you need to ask yourself is this: does it add to the story?