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1. Cliches

It's good to use metaphors and similes in your writing, but not if they're cliches.

http://suspense.net/whitefish/cliche.htm

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2. The Weekend Writer: Are You Developing A Trope Or Using A Cliché?

I'm including  My Top 5 Tried and True Horror Tropes by Micol Ostow in a Weekend Writer post not because I think new writers need to know about horror. Though, of course, if you're interested in writing horror, you'd better. No, what interested me in this post is how she defines the difference between a trope and a cliché. "...there’s also a fine line," Ostow says, "between a “trope” or homage, and a cliché."

When you see people refer to "tropes," it's usually in a flattering way. I can't recall the last time I heard someone say something flattering about a cliché.

The big question (which may be answered in the workshop Ostow mentions, but we won't all be going to that, and it isn't until fall, anyway) is how does a writer make something like a haunted house, asylum, or possessed doll a trope/homage and not a cliché? I've often wondered, is a trope a trope if readers get it, otherwise it's a cliché?

So keep the cliché/trope issue in mind.

0 Comments on The Weekend Writer: Are You Developing A Trope Or Using A Cliché? as of 1/1/1900
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3. Clichés

Clichés are overused metaphors and often employ the words like and as

Agents and editors hate clichés. However, clichés are so deeply imbedded in our language, we don't know we are using them. Personally, I applaud all those creative people who came up with the phrases that give our language its biting wit, sappy compliments, colorful swear words, and delightful put downs. Our world would be boring without such gems as:

Dead as a doornail

Like a cat on a hot tin roof

Hot as snot

Sure as shootin'

Detractors call clichés predictable, annoying, a symptom of lazy writing, and bordering on purple prose. The main concern is cliché abuse.

The key to using clichés well is to use them sparingly and twist them to make them original. They can be placed strategically to add a comic punch or to define a single character, not the entire cast.

                Cliché: Dick won’t rock the boat.
                Twist: Dick won’t rock the rescue dinghy.

                Cliché: Not for all the tea in China.
                Twist: Not for all the fortune cookies in China.

There are too many clichés to list them all. Some are so ingrained in our language, it would sound stilted to avoid them. Make artistic choices.


REVISION TIPS


?Turn on the Clichés, Colloquialisms, and Jargon option in the toolbox. They will be marked for you. As you read through your draft, decide which to keep and which to kill. Have you used the cliché intentionally?
?Can you twist it or make it fresh?
?Have you committed cliché abuse? Should you trim them?
?Does the cliché fit the time and place?
?Does the cliché fit the background and personality of the character uttering it?

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4. Cliches

You might want to avoid these storytelling cliches. 

http://litreactor.com/columns/top-10-storytelling-cliches-that-need-to-disappear-forever

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5. How to Subvert Clichés

By Jessica Bell

As a co-founder and editor for Vine Leaves Literary Journal, I have read my fair share clichéd submissions. And I'm afraid to say, that most of the time, they make me wince.

As a writer, it is likely hard to comprehend how overwhelming these clichéd submissions can get. You are only one person after all, with one cliché in front of you, and it's logical to think, Oh, it'll be all right, surely there won't be any other subs like this. But you would be surprised. What you need to think is: Am I really going to be noticed amongst an inbox full of 300-400 other submissions if I'm writing about the sea breeze, and quiet dark nights?

Vine Leaves Literary Journal has been around for more than a year now. And the clichés (especially in poetry) that most frequently overwhelm us are:
  • gardens/plants (pretty red poppies, bees, roses and Eden)
  • sun/moon/stars (shining, glistening on sand or water)
  • beating hearts (oh I love you so much my heart is racing)
  • quiet nights (as I caress your cheek, as soft as a baby's bottom)
  • gentle breezes (I close my eyes and feel your presence)
  • oceans/beaches (my toes dig into the warm sand)
  • weather/seasons (birds chirping in spring, heat waves rising off the road)

However, if you are sure that you have written about these things in a unique way, we're totally open to reading about them. But trust me, we will be extra critical.

For an example of one unique way to write about gardens, take a look at The History of Dirt, by Allie Marini Batts, from Issue #03, page 37. This WOWED me.

So how can we twist the above clichéd topics into interesting reading?

For starters, use objects as metaphors for emotions or personality traits; plants in a non-garden context to attract attention and intrigue; give pretty things ugly qualities, and vice versa; compare love to a simple gesture that isn't saccharine; instead of talking about the quiet night, find a quiet detail to draw attention to, an elderly man kicking a newspaper in an abandoned street perhaps, and his echoing grunt. Think opposite, think unpredictable. Tweak a common feeling with a unique bent, experiment with poetic prose.

Sure, clichés exist because they come from real life, and you may argue that they are 'relatable.' But the way in which one experiences things isn't always the same. As writers, it's your duty to make your readers see through a unique pair of eyes. Tell me, which of the following excerpts is the most clichéd? And which is more interesting to read?

As I step foot onto the sand, I realize I'm ready to wipe the slate clean, to start again in a new town where I no longer feel the weight of regret on my shoulders, or the desire to runaway; a place where I can accept who I am.

As I step foot onto the sand, I realize I’m ready to wipe this regret from my skin; to immerse myself in a new ocean, where my desire for fleeing this emotional cage hides like a mermaid ambivalent about growing legs.

What other clichés can you think of that you persistently see in writing? Or better still, what have you read that uses a cliché in a unique way?


Need more help with your writing? Why don't you try Jessica's pocket guide, Show & Tell in a Nutshell: Demonstrated Transitions from Telling to Showing?


About the Author:

If Jessica Bell could choose only one creative mentor, she’d give the role to Euterpe, the Greek muse of music and lyrics. This is not only because she currently resides in Athens, Greece, but because of her life as a thirty-something Australian-native contemporary fiction author, poet and singer/songwriter/guitarist, whose literary inspiration often stems from songs she’s written.

She is the Co-Publishing Editor of Vine Leaves Literary Journal and annually runs the Homeric Writers’ Retreat & Workshop on the Greek island of Ithaca. She makes a living as a writer/editor for English Language Teaching Publishers worldwide, such as Pearson Education, HarperCollins, MacMillan Education, Education First and Cengage Learning.

Visit Jessica's blog, The Alliterative Allomorph, and connect with her on Facebook and Twitter.

8 Comments on How to Subvert Clichés, last added: 3/20/2013
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6. Hooray For Clichés!

Not too long ago I was sitting in the audience listening to a distinguished writer talk about her craft when she segued into “What Not to Do!”  Then I saw her pick up one of my books.


My mind filled with a numbing buzz like anesthesia for surgery where your soul will be yanked out through your left eyeball. I can’t remember what don’t’s she referred to, but all the while she held my book. Then she opened it and said, “Unless you do it this way.” Ah, a reprieve. Or a backhanded compliment?  I still couldn’t focus. The horror of being so close to the Don’t list left my brain limp.

You have to know the rules, before you can break them. That’s what writers say. And maybe I fall into that category, or at least cling to the outside rim, because I’ve noticed that I’ve done it again.  Another common piece of advice is to avoid clichés.  And yet, one of the literary devices that I employed in For the Birds: the life of Roger Tory Peterson, included several clichés –
            He had eagle eyes.
            Like an owl he worked at night …
           He rose with the Robins
           It was time to make a nest of his own
           Determined as a woodpecker after a bug

I did add a few of my own:  
           He looked as thin and gawky as a fledgling egret
           As focused as a heron after a fish, he perched on the edge of his seat.

But I had a reason. I wanted to create the image of Roger as a Bird, so the reader understood how strongly Roger loved and responded to them. Using phrases like, “he roosted with …” and  “he migrated…” helped to reinforce this.

The use of common phrases and images can serve a purpose if you use them consciously and don’t overdo it.  Seven comparisons sprinkled throughout a 48 page book with 3,000 words seemed to do the trick. 

Will I break more rules in the future?  I’m sure someone will point it out to me.

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7. What's Your Most Hated Movie Cliche?

I'm a big fan of (fictional) crime TV. Cop shows, amateur sleuths--I love a good mystery or crime show. But there are those cliches that make me cringe. The redheaded rhymes-with-witch. The evil Russian mobster.

The chase through a commercial kitchen!

That one has to be my most-hated cliche. There's usually some low-paid sap the cops are chasing, while pots fly and food (carrots, usually, for visual effect) goes everywhere, and then we end up in an alley with a dumpster.

The sap turns out to be just a dish-washing (or short-order cook) pawn--extra cliche points if he's worried about his expired Visa. The commercial kitchen chase is so unoriginal, I can predict the scene down to the second.

So tell me, YA Sleuthians. What is your most-hated TV cliche?

7 Comments on What's Your Most Hated Movie Cliche?, last added: 4/22/2012
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8. It's About Time (a one act play/ comedy of errors)


Cast: Reporter (R) Writer (W)

Scene: Bookstore

R: Tell me about you book.
W: It’s about time.

R: I’m sorry I was late! So, how does your story begin?
W: ‘We’re all out of time.’

R: We just started! Could you explain the major conflict in this book?
W: Time is wasting away.

R: I couldn’t agree more, so how about if you just answer the questions!
What is most important theme?
W: We can make time.

R: It’s about time!
W: Exactly.

R: Well, good, now we're getting somewhere. What is the title?
W: Take Your Time

R: I was done the question. Just tell the title.
W: That was the title.

R: What was the title?
W: Take Your Time.

R: Right, well, Can you tell me where the story happens?
W: In another time and place.

R: Well, so much for setting. How do the characters try to resolve the problem?
W: Stop the clock!!

R: Wow! It must be such a gift to be hit with inspiration!
W: There's no time like the present.

R: Okay then…Do the characters' actions resolve the problem?
W: That was a waste of time.

R: Well, thank you anyway. Is there a lesson to be learned here?
W: Better luck next time.

R: I don't think so, but I hope you hit the big time just the same.
W: It’s about time.

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9. Seven Deadly Sins of Novel Writing, Part II

Sin # 2: Counterfeit CharactersThe most brilliant plot is nothing without the right characters. The writer's job is to create unique, emotionally charged characters that are strong enough to drive the story. The characters we choose can make or break a novel, and a single misstep can turn a credible hero into a counterfeit that the reader has no patience for. Common missteps in characterization:

17 Comments on Seven Deadly Sins of Novel Writing, Part II, last added: 12/23/2009
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10. Plot Enhancers

In parts 1 & 2, I discussed 8 ways to plot. This last plotting idea is about deepening and extending the effectiveness of a plot.

9. Success Plot Enhancers.

There are two books which stand out, not for their overall structure of a novel, but for deepening the impact of a novel: Donald Maass’ Writing the Breakout Novel (and the accompanying workbook, Writing the Breakout Novel Workbook) and Writing the Blockbuster Novel by Albert Zuckerman.

Chess2Overall shape. Part of their strength is taking an overall look at the shape of the novel and making sure that all the parts match up. Does the beginning set up the end?

Go past cliches. But they also force you to think deeper and reach for the answers that are less glib, but more true. These are actually less about plot and more about craftsmanship and commitment to excellence. And, by the way, success.

30-page outline. Specifically, Zuckerman’s insistence on a written outline of about 30 pages is interesting because it allows you to see major plot holes. His discussion of a sample outline allows you insights into some of his basic assumptions about story: for example, the antagonist and protagonist must meet in direct conflict in the climax. These assumptions seem to be largely unwritten anywhere in the literature of plotting and can only be inferred from Maass and Zuckerman. To the extent they lay bare the assumptions of great literature, they are vastly helpful.

Comments? That’s my take on the ways of plotting as taught by some of the best writing teachers. What have I left out? Which plotting methods work best for you?

Books Mentioned in This Series

Websites Mentioned in This Series

Next: Plotting software

Related posts:

  1. Plot: Characters v. Patterns
  2. 4 More Plot Variations
  3. How to Use Scenes to Plot

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11. More StumbleUpon Links!

As promised, I've found some more cool links for you to check out!Tynt TracerThis one looks neat. Do you want to know who's using your content from your website or blog? Simply sign up (it's free!) and Tracer will not only track your content and images, but also create immediate links back to your posts and pages! Be aware that it may take a few days to have Tracer--I signed up yesterday and

13 Comments on More StumbleUpon Links!, last added: 4/6/2009
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12. Clichés...The Poisoned Apple of Description

It's been awhile since my last cliché post, so I thought I'd look at the temptation aspect of clichés, and why writers are drawn to using them when faced with tough description choices. The way I see it, there are four main reasons to reach for the Poisoned Apple and chow down on it: 1) Clichéd expressions and descriptions convey an immediate, recognizable picture to the reader. Why bother to

11 Comments on Clichés...The Poisoned Apple of Description, last added: 10/19/2008
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13. Why I stopped reading

I’m not an editor. I’m not at agent. But like them, I get piles of books (because I’m a freelance reviewer for the Oregonian). And like them, in a way I’m almost looking for a reason to stop reading any given book – because there are so many in line behind it.

So here are some reasons I’ve stopped reading recent books:
- The investigator thought about how the dead man’s shirt was bought to accommodate his “expanding girth.” The investigator knew nothing about the dead man. Perhaps he had always been fat. So the word "expanding" was a big leap. I think the author probably knew that the character had recently gained weight.
- The main character caught sight of his reflection in a store window and described how he looked. Too much of a cliché.
- A dead body is found at work. As the other employees come into work, the police allow them to gather around the body (and thus contaminate evidence). I don't think so.
- I was introduced to fifteen characters in the first ten pages. It was overwhelming.

Before you send your book off to an agent or editor who might reject, read and re-read those first twenty or so pages and make sure they are perfect! Don't give anyone an excuse to reject your book.



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14. A Final Character Cliché...the Mentor

Gandalf. Merlin. Yoda. All great characters, all mentors that fit the 'wise old man' (er, Yoda) Mentor archetype. In fact, the wise old man is so well known for fantasy, it's almost pointless for me to discuss the cliché when there are literally hundreds of articles out there on it. I'll limit my comment to this: if you have a mentor in your fantasy novel, please don't let it be a kind old man

12 Comments on A Final Character Cliché...the Mentor, last added: 8/10/2008
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15. Monty Python on Clichés...

A writer friend introduced me to this sketch a long time ago and today it is still one of my favs. It's a great example of twisting a cliché into something original, and will give all writers a good laugh...so enjoy! The Prodigal Son

6 Comments on Monty Python on Clichés..., last added: 7/10/2008
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16. Clichés, Part 4

I thought we should add to our body count of Character Clichés before moving on. Again, because I write Children’s, I’m focusing on the younger spectrum of the tired, recycled and overused Paris Hiltons—er, character clichés. You can find other common character clichés here. Speaking of Paris, let’s start with… The Dumb Blonde Blonde, gorgeous…and as useless as a sack of broken hammers. You

8 Comments on Clichés, Part 4, last added: 7/10/2008
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17. Caged Wisdom: The Rich Man and the Parrot

The Rich Man and the ParrotAuthor: Suzan Nadimi
Illustrator: Ande Cook
Published: 2007 Albert Whitman & Co. (on JOMB)
ISBN: 0807550590 Amazon.ca Amazon.com

Lyrical dialog and sweet, somehow soothing illustrations bring to life an 800 year old story of fondness and freedom that challenges us to make space for the perspectives of both captor and captive.

Other books mentioned:

You can read more about thirteenth century mystic poet Mawlana Jalal ad-Din Rumi and the designation of 2007 by UNESCO as the International Year of Rumi here.

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