“1) No third-person omniscient Third-person omniscient used to be the default mode for a lot of novelists — a lot of the classics of literary fiction as well as science fiction are written in third person omniscient. This means, in a nutshell, that the narrator can see what’s going through any character’s head, and can flit around as the story requires. But in recent years, fiction writers have opted for first person or limited third — in which only one person at a time gets to be a viewpoint character. The thing is, though, when you have tight third person with multiple viewpoint characters, it often feels like an omniscient narrator who’s choosing to play games.
And actual third-person omniscient can be fantastic — you need look no further than Douglas Adams’ Hitchhiker’s Guide to the Galaxy, which freely lets you know what Arthur Dent, Ford Prefect and assorted other characters are thinking at any given moment…
2) No prologues This is one I’ve been hearing for years — some agents and editors say they stop reading immediately if they see that a book has a prologue. But prologues have their uses, especially if you want to set a mood or establish some crucial backstory before you start introducing your main characters. Like most of the other things on this list, prologues can be done well, or they can be done horrendously. Luckily, we don’t have to reach far to think of an example of prologues done well — George R.R. Martin starts every one of the Song of Ice and Fire books with one, and it’s clear why these prologues are there. They help set up the conflicts of each book, via the experiences of a throw-away character. (Literally, in fact.)
3) Avoid infodumps Like its cousin, “show don’t tell,” this injunction can be a great idea but can also get you into trouble. Sometimes an infodump can be a horrendous load of backstory or technical schematics, rammed down your poor reader’s throat. But at other times, authors can go to huge, insane lengths to avoid having to come out and explain something. Like having contrived conversations, or weird “teachable moments” to convey a basic bit of worldbuilding to the reader, with the effect that the story grinds to a halt…
…10) No “unsympathetic” characters It’s certainly true that if you’re going to have a main character who’s a total bastard, you’re going to have work harder to win over the reader — a likable character is just obviously easier for readers to get on board with. But at the same time, feeling constrained to make your protagonist — or all your major characters — as sympathetic as possible can put a straitjacket on your writing. You’re stuck trying to create characters who will seem sympathetic to all your readers, no matter what cultural context or attitudes they bring to the story. And you’re putting severe limits on what sort of actions your characters can take. The bottom line is that “sympathetic” isn’t the same thing as “compelling” — a character can be unsympathetic but utterly fascinating and spellbinding. Like a lot of the things on this list, this is all in the execution — if you’re going to go with a protagonist who’s fundamentally unsympathetic or unrelatable, you’re going to have to do an amazing job of making the reader care about him or her in spite of everything…”
Read the rest at i09.
These were our favorite points. For obvious reasons.