The Story Corner » Discussions

Writers Discuss - Keeping Reader Interest (#33)

• Okan-Zeeus

  

  Member
   

  February 25, 2016

  Writers Discuss
  

  Topic #33 – Keeping Reader Interest
  

  ~ ~ ~ ~ ~

  If there's one reaction we writers don't want from our readers, it's boredom. Boredom is the ultimate death knell. If a reader looses interest, they stop reading. So it's our job to get people interested in our stories and keep them reading until the end. 

  How do we do this?

  Here are some questions to consider:

  What do you personally find interesting in stories?

  What makes you want to stop reading something?

  How can we keep readers interested throughout our whole stories?

  ~ ~ ~ ~ ~

  If you have any suggestions for future topics include them in the comments section!

  Writers Discuss
  

  Topic #33 – Keeping Reader Interest
  

  ~ ~ ~ ~ ~

  If there's one reaction we writers don't want from our readers, it's boredom. Boredom is the ultimate death knell. If a reader looses interest, they stop reading. So it's our job to get people interested in our stories and keep them reading until the end. 

  How do we do this?

  Here are some questions to consider:

  What do you personally find interesting in stories?

  What makes you want to stop reading something?

  How can we keep readers interested throughout our whole stories?

  ~ ~ ~ ~ ~

  If you have any suggestions for future topics include them in the comments section!

• Okan-Zeeus

  

  Member
   

  February 25, 2016

  Here's something I don't think people realize:

  Telling a story is about fulfilling promises to the reader.

  One of the ways we keep readers interested in our stories is by making promises through the writing. We demonstrate that, if the reader keeps going, they'll get something out of the experience. This could be a plot filled with brilliant twists, or emotional character moments, or fantastic settings, or unique ideas.

  The point is, though, when you start off your story, you're making promises to the reader about what they can expect if they continue. It's your job to fulfill those expectations as much as you can, from beginning to end.

  Think about what promises you're making to your reader in your story. What do you want them to get out of reading your work? Because this is ultimately what's going to keep their interest (or lack thereof).

  When I sit down to read something, prose is the first thing I notice. If a book doesn't read well, I stop; because going on would just feel like a chore. That said, I'll keep going if the characters or the plot intrigue me. I want to see that thought has been put into a story. 

  If the beginning is strong enough, I'll stick around for a few more chapters and see if things stay engaging. If the plot doesn't go anywhere, though, or the pacing is too slow, I might even drop out half-way through. Usually it's once I'm 2/3 of the way into a story that I'm guaranteed to finish it, because by then I'm invested.

  Not to say that, in the case of blogs here, the story has to be complete. But it's also nice to know if a writer is committed to continuing their story. If it looks like they won't finish, why bother getting into it? I need to see evidence of follow-through.

  ...This all sounds really curmudgeony now that I've gone back and read it. I'm a picky reader. :P

  Here's something I don't think people realize:

  Telling a story is about fulfilling promises to the reader.

  One of the ways we keep readers interested in our stories is by making promises through the writing. We demonstrate that, if the reader keeps going, they'll get something out of the experience. This could be a plot filled with brilliant twists, or emotional character moments, or fantastic settings, or unique ideas.

  The point is, though, when you start off your story, you're making promises to the reader about what they can expect if they continue. It's your job to fulfill those expectations as much as you can, from beginning to end.

  Think about what promises you're making to your reader in your story. What do you want them to get out of reading your work? Because this is ultimately what's going to keep their interest (or lack thereof).

  When I sit down to read something, prose is the first thing I notice. If a book doesn't read well, I stop; because going on would just feel like a chore. That said, I'll keep going if the characters or the plot intrigue me. I want to see that thought has been put into a story. 

  If the beginning is strong enough, I'll stick around for a few more chapters and see if things stay engaging. If the plot doesn't go anywhere, though, or the pacing is too slow, I might even drop out half-way through. Usually it's once I'm 2/3 of the way into a story that I'm guaranteed to finish it, because by then I'm invested.

  Not to say that, in the case of blogs here, the story has to be complete. But it's also nice to know if a writer is committed to continuing their story. If it looks like they won't finish, why bother getting into it? I need to see evidence of follow-through.

  ...This all sounds really curmudgeony now that I've gone back and read it. I'm a picky reader. :P

• Accursed

  

  Member
   

  February 26, 2016

  What I personally find interesting?
  Only the Gods could say. I find that my mood really affects what engages me as a reader, and sometimes even my favorite books I put away because I just can't stand to read them at that moment.
  That said, though, there are of course the basics. Intersting characters, settings, plot, etc. Other than that, I'm pretty easy to please as a reader.
  
  Things that make me want to stop reading; awkward dialogue. This is something I'm very often guilty of, but this is just a thing I write for fun. When a published book has characters who sound like:
  "Hello. How are you?"
  "I am well; and you?"
  "Fine, thank you for asking. I think we should speak about the latest report."
  "Very well. Lead the way."
  Or, in other words, like the random NPC conversations in Oblivion, it's an instant turn off.
  Other things that make me stop; throwing the reader into a world rich in backstory that never gets fully explained. Not as much of a problem here since it's a TES and Fallout site, but books that start with references to events te reade has never heard of in the first book of the series just kills the plot. Constant pretentious language is annoying, as is underdescription to the point where the reader is oblivious to where the characters even are.
  
  *as fifteen year old kid critiques others' writing, he realizes all this applies to him*

  What I personally find interesting?
  Only the Gods could say. I find that my mood really affects what engages me as a reader, and sometimes even my favorite books I put away because I just can't stand to read them at that moment.
  That said, though, there are of course the basics. Intersting characters, settings, plot, etc. Other than that, I'm pretty easy to please as a reader.
  
  Things that make me want to stop reading; awkward dialogue. This is something I'm very often guilty of, but this is just a thing I write for fun. When a published book has characters who sound like:
  "Hello. How are you?"
  "I am well; and you?"
  "Fine, thank you for asking. I think we should speak about the latest report."
  "Very well. Lead the way."
  Or, in other words, like the random NPC conversations in Oblivion, it's an instant turn off.
  Other things that make me stop; throwing the reader into a world rich in backstory that never gets fully explained. Not as much of a problem here since it's a TES and Fallout site, but books that start with references to events te reade has never heard of in the first book of the series just kills the plot. Constant pretentious language is annoying, as is underdescription to the point where the reader is oblivious to where the characters even are.
  
  *as fifteen year old kid critiques others' writing, he realizes all this applies to him*
• A-Pocky-Hah!

  

  Member
   

  February 26, 2016

  "Interesting." That word was always difficult for me to describe. When I do dialogues or "travel to location" chapters, I sometimes try to add some type of distraction like a fight or an accident occurring mid-dialogue just to keep the readers interested. (Dunno if its working.)

  Most of the times, long chapters sometimes bore me and I tend to skip them until I reach the interesting parts. One of the things that makes me stop reading (or watching) is linear plot lines. If I don't catch something interesting or mysterious before I reach the first half of the book, I'll stop.

  I think one of the best ways to hook the readers from the beginning is start in medias res, then tell the story of how they got into the mess. Chapters with ambiguous endings are also another viable option, keeps the readers waiting for the next chapter.

  P.S. Might I suggest a WD about writing a shady character without spoiling too much of his backstory/motives.

  "Interesting." That word was always difficult for me to describe. When I do dialogues or "travel to location" chapters, I sometimes try to add some type of distraction like a fight or an accident occurring mid-dialogue just to keep the readers interested. (Dunno if its working.)

  Most of the times, long chapters sometimes bore me and I tend to skip them until I reach the interesting parts. One of the things that makes me stop reading (or watching) is linear plot lines. If I don't catch something interesting or mysterious before I reach the first half of the book, I'll stop.

  I think one of the best ways to hook the readers from the beginning is start in medias res, then tell the story of how they got into the mess. Chapters with ambiguous endings are also another viable option, keeps the readers waiting for the next chapter.

  P.S. Might I suggest a WD about writing a shady character without spoiling too much of his backstory/motives.

• Okan-Zeeus

  

  Member
   

  February 26, 2016

  I sometimes try to add some type of distraction like a fight or an accident occurring mid-dialogue just to keep the readers interested.

  You've got the right idea. A travel scene should do more than just show the characters traveling. Your scenes should do double duty, try to accomplish multiple things. A story becomes rich when no moment is wasted - every time you see the characters, they're making progress and being developed.

  "I sometimes try to add some type of distraction like a fight or an accident occurring mid-dialogue just to keep the readers interested. "

  Right on, man. In late, out early. Begin your plot right when things start happening. 

  Might I suggest a WD about writing a shady character without spoiling too much of his backstory/motives.

  You mean like controlling the drip of information? There's a lot you can do by withholding knowledge from the reader, if you do it right. It extends to more than just making shady characters. Might make a cool topic. 

  I sometimes try to add some type of distraction like a fight or an accident occurring mid-dialogue just to keep the readers interested.

  You've got the right idea. A travel scene should do more than just show the characters traveling. Your scenes should do double duty, try to accomplish multiple things. A story becomes rich when no moment is wasted - every time you see the characters, they're making progress and being developed.

  "I sometimes try to add some type of distraction like a fight or an accident occurring mid-dialogue just to keep the readers interested. "

  Right on, man. In late, out early. Begin your plot right when things start happening. 

  Might I suggest a WD about writing a shady character without spoiling too much of his backstory/motives.

  You mean like controlling the drip of information? There's a lot you can do by withholding knowledge from the reader, if you do it right. It extends to more than just making shady characters. Might make a cool topic. 

• Sotek

  

  Member
   

  February 28, 2016

  What do I find interesting in stories?

  There are a very few instances when I read something and don’t like something about it. Whether it’s a phrase which sticks in my head or a fight, the way a character interacts with another character or the setting of a certain scene.

  Even things that lay beyond this, the writers themselves…

  I like seeing old pieces of work from writers and watching them as their skills develop with each new blog post. I always look back to a feature length cartoon, Ratatouille.

  Anton Ego: In many ways, the work of a critic is easy. We risk very little, yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face is that in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so. But there are times when a critic truly risks something, and that is in the discovery and defense of the *new*. The world is often unkind to new talent, new creations. The new needs friends.

  I stand in the position where I can truly appreciate a piece of writing even if it is something I don’t personally like.

  Here’s a question for everyone to think upon. Hell this can even apply to the CB group and the art group.

  Of all the stories, builds, pieces of art we all look at in Tamriel Vault, if you had to pay £3.00/$3.00 to buy the last story/picture/build you really liked reading/looking at/playing, would you pay for it or walk away?

  The reason I ask this is the next question…

  What makes you want to stop reading something?

  I stop reading because it doesn’t interest me.

  I stop reading because there are errors.

  I stop reading because the writer hasn’t got any idea of plot.

  I stop reading because the writer isn’t a good writer.

  I stop reading because the story is too slow.

  I stop reading because there was way too much going on at the start.

  Heard it all before………………

  I stop reading when the writer stops caring…

  How can I tell? 

  First off, he doesn’t bother fixing mistakes. We as readers and critics points out an error and the writer decides to ignore it. (Not a judgment call, an error!)

  Secondly he doesn’t try to learn from it. This one is tricky because there can be something which always seems to slip past certain people. But even if one or two words become problematic, you should see a change in other mistakes. Hell I still make them, but every reader of my work knows I try to spot them and they know I kick myself when they are spotted.

  I make mistakes but they aren’t the same ones as what I made six months ago. There’s been a definite improvement. The readers see this.

  How can we keep the interest in our stories?

  There’s a multitude of ways where we can achieve this. Fleshing out the NPC’s and breathing life in the places we visit is certainly one of them.

  Let’s take Arcadia from Whiterun as an example. In U.O.T.W. she can be found in the evening at the Bannered Mare. She may let Sotek have the key to her shop so he can help himself to ingredients and instead of buying them from her, she gives him a list of alchemy ingredients which she needs.

  This adds interest to her character and makes her more than a basic shop owner. Later on she will even meet the Companions in the plains. She has certain likes and dislikes, now we have a character rather than a boring shop owner who just sells and buys potions. She has a life which the reader can share in.

  Another way is to slowly expand on the characters we use. Take Aela, stroppy, stubborn and quite hostile. I try to show this in a number of times and ways. At some point the reader will find out why she is like it. Then the readers can decide if she is the criminal or the victim. She will come to a change in her life which brings us to another way of retaining interest.

  Character development.

  Sotek goes through several changes (pun intended) even switching from heavy armor to light armor as his skills develop. He also flounders at some points as well. As someone progresses with a certain skill, it is inevitable that other skills will drop. We can’t exceed in everything, there is always a balance if we wish to refrain from a god character. Allowing the reader to see firsthand these changes helps them to bond with the characters, maintaining interest in the story.

  Keep it fresh.

  There’s not going to be a fight in every chapter, there doesn’t have to be. Other things happen to people. If there are two chars in a relationship then you have an opportunity to really play with them both.

  Are other chars interested in one of them?

  When do they irritate each other? (Couples argue, it’s inevitable. Let them fall out at times)

  A couple in a story can do far more than just fight creatures and have sex. Expand on their relationship. Have they got a special place they go to? Is there someone pushing an outside influence, adding pressure to their relationship, forcing them together or trying to pull them apart?

  How do the other characters act around them?

  Give your characters a life within your story, not a prison sentence…

  What do I find interesting in stories?

  There are a very few instances when I read something and don’t like something about it. Whether it’s a phrase which sticks in my head or a fight, the way a character interacts with another character or the setting of a certain scene.

  Even things that lay beyond this, the writers themselves…

  I like seeing old pieces of work from writers and watching them as their skills develop with each new blog post. I always look back to a feature length cartoon, Ratatouille.

  Anton Ego: In many ways, the work of a critic is easy. We risk very little, yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face is that in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so. But there are times when a critic truly risks something, and that is in the discovery and defense of the *new*. The world is often unkind to new talent, new creations. The new needs friends.

  I stand in the position where I can truly appreciate a piece of writing even if it is something I don’t personally like.

  Here’s a question for everyone to think upon. Hell this can even apply to the CB group and the art group.

  Of all the stories, builds, pieces of art we all look at in Tamriel Vault, if you had to pay £3.00/$3.00 to buy the last story/picture/build you really liked reading/looking at/playing, would you pay for it or walk away?

  The reason I ask this is the next question…

  What makes you want to stop reading something?

  I stop reading because it doesn’t interest me.

  I stop reading because there are errors.

  I stop reading because the writer hasn’t got any idea of plot.

  I stop reading because the writer isn’t a good writer.

  I stop reading because the story is too slow.

  I stop reading because there was way too much going on at the start.

  Heard it all before………………

  I stop reading when the writer stops caring…

  How can I tell? 

  First off, he doesn’t bother fixing mistakes. We as readers and critics points out an error and the writer decides to ignore it. (Not a judgment call, an error!)

  Secondly he doesn’t try to learn from it. This one is tricky because there can be something which always seems to slip past certain people. But even if one or two words become problematic, you should see a change in other mistakes. Hell I still make them, but every reader of my work knows I try to spot them and they know I kick myself when they are spotted.

  I make mistakes but they aren’t the same ones as what I made six months ago. There’s been a definite improvement. The readers see this.

  How can we keep the interest in our stories?

  There’s a multitude of ways where we can achieve this. Fleshing out the NPC’s and breathing life in the places we visit is certainly one of them.

  Let’s take Arcadia from Whiterun as an example. In U.O.T.W. she can be found in the evening at the Bannered Mare. She may let Sotek have the key to her shop so he can help himself to ingredients and instead of buying them from her, she gives him a list of alchemy ingredients which she needs.

  This adds interest to her character and makes her more than a basic shop owner. Later on she will even meet the Companions in the plains. She has certain likes and dislikes, now we have a character rather than a boring shop owner who just sells and buys potions. She has a life which the reader can share in.

  Another way is to slowly expand on the characters we use. Take Aela, stroppy, stubborn and quite hostile. I try to show this in a number of times and ways. At some point the reader will find out why she is like it. Then the readers can decide if she is the criminal or the victim. She will come to a change in her life which brings us to another way of retaining interest.

  Character development.

  Sotek goes through several changes (pun intended) even switching from heavy armor to light armor as his skills develop. He also flounders at some points as well. As someone progresses with a certain skill, it is inevitable that other skills will drop. We can’t exceed in everything, there is always a balance if we wish to refrain from a god character. Allowing the reader to see firsthand these changes helps them to bond with the characters, maintaining interest in the story.

  Keep it fresh.

  There’s not going to be a fight in every chapter, there doesn’t have to be. Other things happen to people. If there are two chars in a relationship then you have an opportunity to really play with them both.

  Are other chars interested in one of them?

  When do they irritate each other? (Couples argue, it’s inevitable. Let them fall out at times)

  A couple in a story can do far more than just fight creatures and have sex. Expand on their relationship. Have they got a special place they go to? Is there someone pushing an outside influence, adding pressure to their relationship, forcing them together or trying to pull them apart?

  How do the other characters act around them?

  Give your characters a life within your story, not a prison sentence…

• Idesto

  

  Member
   

  March 1, 2016

  What do you personally find interesting in stories?

  Lots! It varies depending on what I'm reading. 

  I'll use the stories I'm currently reading and enjoying here as examples.

  Sotek's 'Union of the Wolf' (UotW). As Sotek readily admits his early writing was quite raw, and has improved a lot. I actually came in a fair way in though, & liked what I read so much that I started from the beginning. I think I would have carried on even if I had started from chapter 1 though.  What I like about UotW is imaginative plotting, great story-telling, and the characters themselves: especially Sotek. He is deep, multi-facetted and likeable, as is his relationship with Aela . We writers are usually avid readers too, and so can often see predictable plots a mile away and so are fussier & harder to surprise - especially as we get older.  UotW often surprises me & I love that. All of this more than makes up for not always having perfect grammar. 

  Lissette's 'Straag Rod'.  As with UotW I came in part-way through, got hooked and started from the very beginning (a very good place to start). My first chapters were the 2 detailing the daedric sacking of the Crystal Tower - still I think the best chapters I've read here. Epic! The quality of the writing was clear, in both descriptive & action prose; I loved the central character of Aelberon & his tender yet complex relationships, and the wealth of detail that obviously was the result of much research. 

  Okan's 'Dragon of the East' (DotE). Okan is obviously a skilled & learned writer, and it shows. What attracts me most is the multi-character aspect of his story. Four, or more, main characters, each with seemingly separate stories, but which I suspect are all linked. It takes skill to pull that off and that's the main reason I keep reading. It reminds me of one of my favourite films, 'Magnolia'; also 'Love Actually'. I also admire his skill with language, particularly in descriptive passages.  

  Exuro's 'A Dance With Daedra' (ADWD). I was hooked from the start. An undead squirrel called Skuttles? What's not to love? Similar reasons to the above really: great central character, great character interactions, imaginative plotting, excellent dialogue. What stands out here though for me is the detail and complexity of the action sequences and in the use of magic. A lot of thought seems to have gone into it. 

  The Rancid's 'Dragon War Encore'. Imaginative story-telling - I like that the fact that the central story (so far) intersects or runs parallel to rather then mirrors Skyrim's plot - well-drawn and complex characters, great dialogue, attention to detail. I particularly admire her skill with words and language, really admirable in one so young! I like to think of myself as having a good vocabulary, so someone who can (correctly) use words that I'm not familiar with will always get my attention!  

  What makes you want to stop reading something?

  As Sotek said, poor grammar & use of language. I don't mind a bit, but when it's painfully bad I can't carry on. If it gets better: fine, but if it doesn't: I'm out!

  Cliched, unoriginal plotting. If I feel like I've read it all before somewhere else I'll get bored and lose interest. Keep the story fresh and interesting; make it original!

  Shallow, two-dimensional characters. If your main character is a Dragonborn, make him or her interesting. Give him flaws, quirks, a backstory, complex motivations: not just a clean-cut, square-jawed superhero who stands for justice & righting wrongs. 

  Pretentious writing: for instance using, misappropriating or even inventing fancy words just for the sake of it; overflowery descriptions. It's a turn-off, but not a game-breaker. If other positive elements are there I'll probably keep reading; I'll just be a bit irked.

  What do you personally find interesting in stories?

  Lots! It varies depending on what I'm reading. 

  I'll use the stories I'm currently reading and enjoying here as examples.

  Sotek's 'Union of the Wolf' (UotW). As Sotek readily admits his early writing was quite raw, and has improved a lot. I actually came in a fair way in though, & liked what I read so much that I started from the beginning. I think I would have carried on even if I had started from chapter 1 though.  What I like about UotW is imaginative plotting, great story-telling, and the characters themselves: especially Sotek. He is deep, multi-facetted and likeable, as is his relationship with Aela . We writers are usually avid readers too, and so can often see predictable plots a mile away and so are fussier & harder to surprise - especially as we get older.  UotW often surprises me & I love that. All of this more than makes up for not always having perfect grammar. 

  Lissette's 'Straag Rod'.  As with UotW I came in part-way through, got hooked and started from the very beginning (a very good place to start). My first chapters were the 2 detailing the daedric sacking of the Crystal Tower - still I think the best chapters I've read here. Epic! The quality of the writing was clear, in both descriptive & action prose; I loved the central character of Aelberon & his tender yet complex relationships, and the wealth of detail that obviously was the result of much research. 

  Okan's 'Dragon of the East' (DotE). Okan is obviously a skilled & learned writer, and it shows. What attracts me most is the multi-character aspect of his story. Four, or more, main characters, each with seemingly separate stories, but which I suspect are all linked. It takes skill to pull that off and that's the main reason I keep reading. It reminds me of one of my favourite films, 'Magnolia'; also 'Love Actually'. I also admire his skill with language, particularly in descriptive passages.  

  Exuro's 'A Dance With Daedra' (ADWD). I was hooked from the start. An undead squirrel called Skuttles? What's not to love? Similar reasons to the above really: great central character, great character interactions, imaginative plotting, excellent dialogue. What stands out here though for me is the detail and complexity of the action sequences and in the use of magic. A lot of thought seems to have gone into it. 

  The Rancid's 'Dragon War Encore'. Imaginative story-telling - I like that the fact that the central story (so far) intersects or runs parallel to rather then mirrors Skyrim's plot - well-drawn and complex characters, great dialogue, attention to detail. I particularly admire her skill with words and language, really admirable in one so young! I like to think of myself as having a good vocabulary, so someone who can (correctly) use words that I'm not familiar with will always get my attention!  

  What makes you want to stop reading something?

  As Sotek said, poor grammar & use of language. I don't mind a bit, but when it's painfully bad I can't carry on. If it gets better: fine, but if it doesn't: I'm out!

  Cliched, unoriginal plotting. If I feel like I've read it all before somewhere else I'll get bored and lose interest. Keep the story fresh and interesting; make it original!

  Shallow, two-dimensional characters. If your main character is a Dragonborn, make him or her interesting. Give him flaws, quirks, a backstory, complex motivations: not just a clean-cut, square-jawed superhero who stands for justice & righting wrongs. 

  Pretentious writing: for instance using, misappropriating or even inventing fancy words just for the sake of it; overflowery descriptions. It's a turn-off, but not a game-breaker. If other positive elements are there I'll probably keep reading; I'll just be a bit irked.

• Idesto

  

  Member
   

  March 1, 2016

  Didn't answer Q3!

  How can we keep the interest in our stories?

  Basically DO the stuff I mentioned for Q1, and DON'T DO the stuff in Q2.

  DO have imaginative original plots. Try to surprise your reader, but in an original way.

  DO have interesting, deep characters and relationships. 

  DO pay attention to correct or appropriate grammar, syntax, spelling, punctuation.

  DO: THINK!

  DON'T: publish yur storey with lots of speeling mistakes ot typos. Read back, correct, or if you're still struggling, ask someone else to check & correct for you. Learn from your mistakes & get better.

  DON'T (and I'm probably going to into 'pet peeves' territory here) confuse 'your' and 'you're', or 'their', 'they're' & 'there'.  'Your' is something that belongs to 'you' ('your sword'); 'you're' is short for 'you are'. Similarly, 'their' (possessive)  & 'they're' ('they are'). 

  DON'T commit apostrophe crime. An apostrophe indicates 1 or more missing letters. Never use an apostrophe in a plural. "For Sale: Orange's!" Orange's what? Orange's pips, skin, what? Just 'Oranges', OK? 'Idesto's sword' = 'sword of Idesto'. (The exception to the rule is 'its': 'it's' is 'it is'; the possessive form 'its' drops the apostrophe).

  /rant. I'll stop there...

  DON'T use unoriginal plots, cliched plots.

  DON'T have shallow, two-dimensional characters.

  Didn't answer Q3!

  How can we keep the interest in our stories?

  Basically DO the stuff I mentioned for Q1, and DON'T DO the stuff in Q2.

  DO have imaginative original plots. Try to surprise your reader, but in an original way.

  DO have interesting, deep characters and relationships. 

  DO pay attention to correct or appropriate grammar, syntax, spelling, punctuation.

  DO: THINK!

  DON'T: publish yur storey with lots of speeling mistakes ot typos. Read back, correct, or if you're still struggling, ask someone else to check & correct for you. Learn from your mistakes & get better.

  DON'T (and I'm probably going to into 'pet peeves' territory here) confuse 'your' and 'you're', or 'their', 'they're' & 'there'.  'Your' is something that belongs to 'you' ('your sword'); 'you're' is short for 'you are'. Similarly, 'their' (possessive)  & 'they're' ('they are'). 

  DON'T commit apostrophe crime. An apostrophe indicates 1 or more missing letters. Never use an apostrophe in a plural. "For Sale: Orange's!" Orange's what? Orange's pips, skin, what? Just 'Oranges', OK? 'Idesto's sword' = 'sword of Idesto'. (The exception to the rule is 'its': 'it's' is 'it is'; the possessive form 'its' drops the apostrophe).

  /rant. I'll stop there...

  DON'T use unoriginal plots, cliched plots.

  DON'T have shallow, two-dimensional characters.