Write Better Fiction with Deep Reading: The Micro Elements of Story(Part 1)Action, Dialogue, & Description.

Apr 1

In our last deep reading article we focused on the macro elements of fiction writing: Character, Plot, Conflict, Theme, Setting, Tone and POV Choice. Now we will turn our attention to the glue that holds those pieces together with the same intention—figuring out how they work so that we can craft better stories.

Like worldbuilding, this is a huge topic. Entire codices have been written in service of each individual literary device we’ll explore in a moment. But not to worry, we’re not going to go on for days. Instead, I’m going to give you what I believe to be the most important pieces to pick out of a fictional narrative to examine and play with.

We’ll begin just as we did when we looked at the macro elements–by finding a novel that gives the “Whoa Factor,” and rereading it.

But this time we’ll only look at a small section of the novel as we sharpen our scalpel and begin to peel back the layers of the what, how, and why, of the author’s choices.

Ready? Buckle up.

What are the micro elements of fiction?

Well this could be a looong list of literary devices starting with an allegory dribbling all the way down to a zeugma. Don’t know that one? I didn’t either. I looked it up. For kicks, it's when a single word, usually a verb, modifies two or more objects or nouns and makes for some fun sentences. Like me, you probably use zeugmas and don’t even realize it.

Example of a zeugma: “You held your breath and the door for me." Alanis Morissette, Head Over Feet.

As you can see, we can go off in the weeds pretty damn fast.

So we’re going to focus on what is going to give us our biggest bang for our buck and break it up into sections because, though I planned for two parts to this Deep Reading series, I bit off more than I can chew and likely more than you want to digest in this blog!

Think of these micro elements as the building blocks that make up the narrative. They work together to create the rich (or not so rich) tapestry of the book.

Here they are in no particular order: Action, Dialogue, Description, Interiority and Internal Monologue, Voice, Backstory including Flashbacks, Foreshadowing, Pacing, Context, and Subtext. All of these are packaged into scenes and summaries, which are then tidied up into chapters…eventually!

This is where you want to get out a dozen different highlighters and commit to what some feel is the blasphemous act of marking up the novel. Or use a shit ton of sticky notes if you must. I do both. Hey, whatever it takes. If the book gods want my soul as payment, that’s fine so long as it makes me a better writer.

Okay, let’s set some intentions. Got your analytical cap on? Yeah? Good.

First, remember the point: to figure out how the author used each of the microelements to create the cohesive and immersive experience that sucked you into the story the first time you read it.

I recommend you pick a short passage or a half-scene to start and look at only a few of the microelements at a time.

Today, we’ll look at Action, Dialogue, and Description.

Action

Action is what the characters are physically doing on the page–duh. Without it, we have no forward momentum and a lack of understanding of how the experience is affecting the character. We might have a character sitting and thinking, but that can only go on for so long before the reader just gives up.

Take action: Pick your color and highlight every bit of action in the section you’ve selected, including the action beats that go with dialogue.

Questions to ask:

What type of action occurred in the section you’re examining? Why did it happen?
Was the character reacting or taking initiative?
What does their action tell you about how they interpret the context of the situation?
How did the author use the action to show the meaning of the moment and propel the plot forward?
What vibe did it give the text, and how did it demonstrate the character pursuing their scene goal?
Did the action the author used engage the senses? If so, how?
What would have happened if the author had the character behave differently?

What you’ll begin to notice here, as with the rest of these micro elements, is that nothing is by accident. Every word is curated and does more than one job. The language used was chosen for a reason.

What do I mean by that? Well, the action, which is verb focused, will tell us what is happening, but the type of verb will indicate the energy and emotion behind the action.

Silly example, but true, nonetheless.

I walked to the mailbox, eagerly anticipating the delivery of my first release.

How much did I show, and how much did I tell? Other than walking, I told (explained) it all, and in fiction, explaining to the reader is death for the book. Plus, it was a boring sentence.

Better: I raced to the mailbox hoping my new book would be there.

Better still: I raced to the mailbox; my hands itching to hold my debut.

Dialogue

Dialogue is a verbal exchange between two are more characters where each character is using their voice to pursue their goal. Dialogue is action through speech. And, as I mentioned, this element also works double time to reveal character, motivation, relationships, and advance the plot.

Take action: Get two more colors, one for each character. Highlight the dialogue so you can identify the speakers at a glance.

Questions to ask:

What are the characters talking about in the section you are evaluating?
Why does the subject matter to them?
Does the dialogue demonstrate the characters in pursuit of their goals or negotiating an obstacle?
What does it reveal about their relationships and motivations?
How did it move the moment forward?
How does the dialogue contribute to or show the character’s personality?
Does the character’s background have an effect on the word choice and style of speech?
Does the dialogue create misunderstanding or tension between the characters? How is this shown? Hint: look for silence from the other character(s) involved in the exchange.
Do you notice anything implied but not stated?

Description:

Description is the vivid details of sight, sound, smell, taste, and texture. It’s how the author portrays everything (characters, setting, stuff) through imagery and senses.

Description is more than wallpaper. It sets tone, evokes mood, and can give the reader insight into the character’s emotional state and perceptions.

A happy farmer might see the spring green foliage as fresh, vibrant, and filled with opportunities. A tired farmer who’s neck deep in debt might describe the same thing with a more downtrodden tone.

Description enhances the reader’s experience, allowing them to fold into the novel and feel like they are there. The result is the reader living inside the character’s skin as if it were their own. Or, if the narrative is more objective and distant, it allows the reader to feel like a grand spectator, afforded the best seat in the house.

I love this quote by Gabriela Pereira of DIY MFA: “Rich, engrossing description is a mysterious combination of imagery, detail, and word choice.” It’s very true, but also very hard to replicate. And that’s as it should be. Description is about an author’s voice and style. Style is personal, but we can learn a lot by studying how others do it and then make our own decisions.

Take action: Same as before, highlight the description you notice.

Questions to ask:

How did the author describe the characters and setting in the section you're evaluating?
What sensory words did they use? How many?
How did this impact the tone and mood of the moment? If the description was shared through the lens of a POV character does it align with the character's mood? Can you infer anything?
Examine the word choices. When are the descriptions detailed and why? The more time and descriptive details something is given, the more the reader will pay attention to it and believe it’s important. When does the author spend more and less time describing?
When are the descriptions vague or non-existent? Is that on purpose?
What would it have changed if the author added more detail to something common, say a dog. Do we need to see more about the dog?
How does the description work double time to highlight the character’s personality or maybe the obstacle they are facing?

Again, apply the rule. Does the description move the story forward? Does it provide the reader with the context they need to understand what is happening, or is it simply an effort to make things pretty and cause distraction?

Next Time:

Next time we circle back to the micro elements, we’ll focus on interiority, internal monologue, and voice, which all go hand-in-hand.

Remember, the ultimate litmus test of the micro elements, as well as the macro, is this: Does the element contribute to the advancement of the story? Does it have a reason? We must have forward momentum.

“Anything you spend much time on must amount to something in the story.” - Orson Scott Card.

Did you miss the article about reading deeply for the macro-elements of story? You can check it out here and don’t forget to download the Free Read Deep To Write Better Fiction Annotation Guide.