How to write Pulp Fiction

**How to**
write Pulp Fiction by James Scott Bell

OMG, I adore dictation. I’m reading most of this directly
from my Kindle into Microsoft Word. There will be typos and weird word choices.
Deal with it.

In general, Pulp Fiction is:

·
plot-centric

·
easy to read

·
fast-paced

Pulp Fiction is enhanced by:

·
colorful characters

·
snappy dialogue

·
intriguing settings

the successful pulp Stern knows there is a craft to
storytelling which must be learned and practiced. Even more, he knows one of
the keys to success is being prolific. Words must be produced with a certain
amount of regularity, if not outright speed. The pulp writer can coexist with
the literary writer, but often the latter picks a fight.

**Type hard. Type fast.**

**What makes a great**
series character?

A point of uniqueness, a quirk or style that
sets them apart from everybody else

a skillet which they are really really good

a rebel – the series hero should rub up against
authority even if it’s in a quiet way, like Miss Marple muttering “oh, dear” at
the local constabulary.

A vulnerable spot or character flaw

a likable quality – wit is one of the great
likability factors. Another is caring for others besides oneself.

Important question: will the character grow? For example,
Lee child deliberately started with a character who was extremely competent at
what he did, and his stories are about watching the character do his thing.
Jack reacher does not grow or change over the course of the series, and that is
how the author, and the readers, like it.

Michael Connelly, on the other hand, has brought tremendous
change to his series character, Harry Bosch. At the very least, your character
ought to grow stronger with each adventure. Each new tale must challenge the
character in some way that threatens him with death (physical, professional, or
psychological).

Bell makes an interesting point about plot. “In my workshops
I’m sometimes asked how to keep plot and structure from devolving into
formulaic writing. My answer is… You don’t cook an omelette with a watermelon.
If I want an omelette, I wanted made with eggs in a pan with some ingredients
and spices what those ad-on czar and how they are proportioned makeup the
distinctiveness – the originality if you will – of the dish.”

**Taking Your Pulp to**
the Next Level

Style and Characterization:

your prose style should be intentional – something you are
aware of and work on. At minimum, Pulp Fiction has a straight-forward,
storytelling function. However, you may want to go further to give your writing
that little extra punch. Bell has an entire book on the subject. Maybe I’ll do
a synopsis of that one soon.

Dialogue:

be witty. It’s not always easy but it pays big
when you can pull it off.

Be crisp. Keep dialogue short and punchy.

Be over-the-top. This should be done sparingly,
but a big dramatic rant can be witty and entertaining.

Cut all you can. Often you’ll begin dialogue
with fillers – look, well – or with needless words, which are often no and yes.
Cutting those almost always makes dialogue just a little bit crisper.

Use action beats. In addition to cutting the
flap in your dialogue, think about cutting entire lines and replacing them with
action

Place information within confrontation. No info
dumps. Back story emerges obliquely in reference to the present conflict.

Cliché hunting. You can dump the whole cliché
and replace it with a fresh image, or you can freshen the cliché itself by
putting a little twist on it.