qid int64 1 2.78M | question stringlengths 2 66.6k | answers list | date stringlengths 10 10 | metadata list |
|---|---|---|---|---|
50,256 | My character is getting physically abused by her father . I tried writing fight scenes and violent scenes before but they always seemed .. very weird . Can you give me some advice on writing an scenes that include violence ? Any small tip is very appreciated ! | [
{
"answer_id": 50257,
"author": "A.bakker",
"author_id": 42973,
"author_profile": "https://writers.stackexchange.com/users/42973",
"pm_score": 1,
"selected": false,
"text": "There is not much to go on, but a \"trick\" to write about abuse/horrific acts is to not write about them at all, ... | 2020/02/25 | [
"https://writers.stackexchange.com/questions/50256",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43269/"
] |
50,260 | I'm trying to find a very specific word for a very specific feeling, and have had zero luck other places on the Internet with finding even a reference to this. I'm hoping to invoke this particular emotion in a short story, the details of which I don't think are terribly important for the question itself.
It is something I have experienced before and, despite my lack of results, I'm sure others have as well.
It isn't excitement or anxiety, but it is something relatable...it's almost physical, like a sensation in the chest, most often, almost like a tightness or heaviness that sometimes almost seems to spread to the head as well...but it comes about when watching or listening or reading something fascinating, interesting, or something that grabs your attention in a very unique way and holds you and makes you feel...well, what I've said above is the best I can describe it.
In my own life I've often felt this when watching captivating speeches, or scenes that seem almost...intimate, not sexual, but like watching a person observe something closely and intently, investigating...or while reading something particularly compelling. Often when someone with a captivating, maybe soothing, voice explains something too.
It's very hard to describe, but I'm really hoping to emulate it through my writing in this piece...but I think to do so I need to know and understand what the feeling is. I hope you all can help! Thanks so much! | [
{
"answer_id": 50261,
"author": "Ray",
"author_id": 43269,
"author_profile": "https://writers.stackexchange.com/users/43269",
"pm_score": 1,
"selected": false,
"text": "I think your story will be more profound if you describe this feeling in more words. Like you wrote , it might help the... | 2020/02/25 | [
"https://writers.stackexchange.com/questions/50260",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43292/"
] |
50,262 | I read the following question on WorldBuilding.SE last week: [What early middle ages weapons would suit an extremely strong child?](https://worldbuilding.stackexchange.com/q/168720/42079) I thought the premise was interesting, but I noticed a comment that stated:
>
> First of all, this is the most anime thing I’ve ever read. [(source)](https://worldbuilding.stackexchange.com/questions/168720/what-early-middle-ages-weapons-would-suit-an-extremely-strong-child/168802#comment527890_168720)
>
>
>
And then, scrolling through answer and comments, I noticed a few more references to how "anime" this was:
>
> Your anime tier seven year old still has short arms, so [...] [(source)](https://worldbuilding.stackexchange.com/a/168725/42079)
>
>
>
>
> For real anime action she would take a 2 step runup, jump into the air, throw, and then be thrown backwards and land on her feet where she started. [(source)](https://worldbuilding.stackexchange.com/questions/168720/what-early-middle-ages-weapons-would-suit-an-extremely-strong-child/168802#comment527951_168743)
>
>
>
I understand that they're saying that this situation reminds them of something that would be in an anime, but what traits define that?
**What traits of a story/scene/character make it "anime"?** | [
{
"answer_id": 50263,
"author": "levininja",
"author_id": 30918,
"author_profile": "https://writers.stackexchange.com/users/30918",
"pm_score": 0,
"selected": false,
"text": "Extremely strong child characters is a common anime trope. \n\nFor example Dragonball Z."
},
{
"answer_id... | 2020/02/25 | [
"https://writers.stackexchange.com/questions/50262",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/33448/"
] |
50,280 | I'm in the middle of writing a book where the protagonist is a narcissistic psychopath, and while I personally am having a lot of fun with it and *hope* I'm doing it well enough, I understand this is a difficult feat to do without alienating the reader. So I was hoping to create this question as a repository of ideas people in this stack exchange have on how to write a compelling psychopathic protagonist.
Here are the ideas I myself used:
* She's utterly vindictive and selfish, but through sheer happenstance, usually ends up screwing over people even worse than her (in her case, mob bosses, slavers, and bourgeoisie).
* She has a set of principles which, while not ordinary, demonstrate she has standards (for instance, she despises the concept of slavery because she considers forced collaboration to undermine the selfishness of both the slaves and the slavers).
* She's got relateable struggles exacerbated by her mental illness (in her case, extreme loneliness from regular social faux pas, usually her fault, sometimes not).
* Her narcissism is sometimes outright humorous in its extent, with her often missing the point in an endearing way.
* The story has sympathetic side characters that give the reader people to root for even while rooting for her eventual downfall (like her sidekick, a self-esteem-free boy who she's using to feed her ego and assist with his powerful magic).
* Her arc is the tale of someone going from an exiled noblewoman with nothing to her name, to nutty wildcard, to legitimate and terrifying threat, making her a villain protagonist by the end with sympathetic, heroic antagonists.
However I know there's multiple ways to go about making a narcissistic psychopath protagonist work. As stated, I'd like this question to be an idea repository for others rather than strictly a solution to *my* problems. So, what are you guys' thoughts?
Edit: By narcissistic psychopath, I mean a person who has reached levels of narcissism that qualify them as having Narcissistic Personality Disorder (<https://en.wikipedia.org/wiki/Narcissistic_personality_disorder>), traits of which include:
* Grandiosity
* Expectations of special treatment
* Exploitativeness
* Lack of empathy
* Fixation on fantasies of power or ideal love
* Possession of a superiority complex
* A constant need for approval and admiration
* Entitlement
* Intense envy that regularly manifests as vindictiveness | [
{
"answer_id": 50282,
"author": "levininja",
"author_id": 30918,
"author_profile": "https://writers.stackexchange.com/users/30918",
"pm_score": 2,
"selected": false,
"text": "This sounds like a type of [anti-hero](https://en.wikipedia.org/wiki/Antihero) to me. That wiki page has a good h... | 2020/02/26 | [
"https://writers.stackexchange.com/questions/50280",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/32552/"
] |
50,292 | I am writing historical fiction.
I am contemplating my character to compose a poem that was actually composed by someone in India, likely 1950s. This poet passed away in 2005.
How to attribute this in my novel? In other words, my novel should say this poem is from this actual poet, even though novel shows that fictional character penned it herself.
Would a footnote be acceptable? | [
{
"answer_id": 50282,
"author": "levininja",
"author_id": 30918,
"author_profile": "https://writers.stackexchange.com/users/30918",
"pm_score": 2,
"selected": false,
"text": "This sounds like a type of [anti-hero](https://en.wikipedia.org/wiki/Antihero) to me. That wiki page has a good h... | 2020/02/26 | [
"https://writers.stackexchange.com/questions/50292",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/42950/"
] |
50,295 | What I want to know is if it is bad for the narrative to lie to the reader.
I get that using it in first person can be a good use for misdirection and such, but it does that by making the character whose perspective you are following be wrong and usually gives a reasonable explanation why. It's not lying to the readers, but rather the character they are following and makes sense why it is wrong.
In third person though it narrates the story from an outside perspective it is basically the readers perspective. So say if the author convinces you the reader of something and doesn't leave any room for doubt and the narrative basically says it is as well, but later turns out that what you were convinced of was wrong. However looking back it doesn't make any sense at all from the narrative that has been used cause we as the readers have pretty much been told this is the case and nothing leads us to believe otherwise which is no different from lying to the readers.
I want to know if this is bad where the narrative convinces you of something, but it turns out to be false. | [
{
"answer_id": 50282,
"author": "levininja",
"author_id": 30918,
"author_profile": "https://writers.stackexchange.com/users/30918",
"pm_score": 2,
"selected": false,
"text": "This sounds like a type of [anti-hero](https://en.wikipedia.org/wiki/Antihero) to me. That wiki page has a good h... | 2020/02/27 | [
"https://writers.stackexchange.com/questions/50295",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43113/"
] |
50,299 | In regards specifically if you don't have any positive relationships with relatives yourself to draw from. I'm assuming writing only about characters who have negative familial experiences would become one-note rather quickly. | [
{
"answer_id": 50304,
"author": "levininja",
"author_id": 30918,
"author_profile": "https://writers.stackexchange.com/users/30918",
"pm_score": 2,
"selected": false,
"text": "* Watch movies and read books that have positive family interactions.\n* Hang out with friends who have have posi... | 2020/02/27 | [
"https://writers.stackexchange.com/questions/50299",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43320/"
] |
50,312 | I noticed that I use "she", "he", and "they" - and a lot of sentences also begin with the aforementioned pronouns. How can I steer away from doing this so often as I write in 3rd person fiction? Here is an example:
>
> RizaMe took off her shoes, and stepped onto the hardwood floors in the old Victorian home. She peered into the kitchen as she stood in the dining room, but there was no sight of a single soul around. She walked further down the hall, and that's when she heard the sounds of giggling voices, so she stopped midway. The voices sounded as if they were coming from the back bedroom, so she then proceeded to walk that way. Her heart thumped against her chest. She took one step forward, and that's when she heard it, the deafening scream.
>
>
> | [
{
"answer_id": 50330,
"author": "Blazen",
"author_id": 43363,
"author_profile": "https://writers.stackexchange.com/users/43363",
"pm_score": 3,
"selected": false,
"text": "Having read your example it seems to me that the reason it sounds like your overusing ‘she’ is because, particularly... | 2020/02/28 | [
"https://writers.stackexchange.com/questions/50312",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/33805/"
] |
50,314 | I've been working on a book for about four years now. Every time I reach the middle, I get stuck and I go back and edit and rewrite everything. I've probably rewritten the whole thing at least seven times now. At first it was just editing out parts I felt were extra or amateurish or inconsistent but each time I do so, I start to question the plot even though I've done years worth of research to assemble it.
As of right now, I haven't written for months because I've had multiple ideas on how to entirely change the plot of my book and I don't know how to execute them. I have all of these ideas but piecing them together into a complex plot for the first time feels difficult.
Being a full time pre-med student in university isn't exactly helping either. I don't know what to do to bring myself back to writing. Even if my fingers haven't touched the keypad for months, my brain is constantly working. The standard solution would be to read more, work on other things, go for walks or force the writing out but I've tried. | [
{
"answer_id": 50315,
"author": "user43339",
"author_id": 43339,
"author_profile": "https://writers.stackexchange.com/users/43339",
"pm_score": 0,
"selected": false,
"text": "Other usefull ways :\n\n1. Using writing prompts\n2. Keeping a journal\n3. Attend writers conference\n4. Collabor... | 2020/02/29 | [
"https://writers.stackexchange.com/questions/50314",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/24023/"
] |
50,317 | I know CMOS 17 section 6.2 says, "All punctuation marks should appear in the same font—roman or italic—as the main or surrounding text, except for punctuation that belongs to a title in a different font (usually italics)."
I understand how that applies to an italicized word or phrase within a roman sentence—"This is the best pizza *ever*!"—but as applies to dialogue in fiction writing, I need some clarification, please.
1. I believe the punctuation of a one-word sentence of dialogue is italicized if alone on a line. Is that correct?
*"Yikes!"* --or-- "*Yikes*!"
2. And if it's not alone on a line, I think it's still italicized with the word, but I'm not entirely sure.
*"Yikes!"* She snatched her hand back. --or-- "*Yikes*!" She snatched her hand back.
3. I believe the punctuation of a one-word sentence of dialogue attached to a larger roman sentence would remain roman. Is that correct?
"*Crap*," she snapped, crumpling the paper. --or-- *"Crap,"* she snapped, crumpling the paper.
Thanks for any help or guidance. | [
{
"answer_id": 50315,
"author": "user43339",
"author_id": 43339,
"author_profile": "https://writers.stackexchange.com/users/43339",
"pm_score": 0,
"selected": false,
"text": "Other usefull ways :\n\n1. Using writing prompts\n2. Keeping a journal\n3. Attend writers conference\n4. Collabor... | 2020/02/29 | [
"https://writers.stackexchange.com/questions/50317",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43340/"
] |
50,326 | I am currently looking for an agent to represent a portfolio of books. But I was wondering, what is considered to be a large portfolio in that how many unpublished books ready for an agent is considered large or small? I have about five THOROUGHLY REVIEWED novels within the Christian fiction genre. They are not series, they are standalone. Is this considered a good number to send to agents? Is this too much? Am I pushing myself too hard? | [
{
"answer_id": 50329,
"author": "BookWriter",
"author_id": 43347,
"author_profile": "https://writers.stackexchange.com/users/43347",
"pm_score": 4,
"selected": true,
"text": "The fact that you have five books completed is a plus point to literary agents and publishers, but it is not how ... | 2020/03/02 | [
"https://writers.stackexchange.com/questions/50326",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/-1/"
] |
50,327 | When I wrote my first poem, I was very excited about it, and proud, and shared it among all my friends. However, now I don't often want to write about my feelings and experiences, and when I do, I'm not even sure I want to share them --I just feel that they are my emotions, and they are nothing to share. Whenever I'm in full of any emotion, whether it is happiness or sorrow or anything, I just want to live that emotion, not write about it.
But the paradox is this: When I read Guwyal or any other poet, I feel they are great because it feels like they have lived that experience thoroughly. I really don't understand. **Can you truly experience life and emotions if you're channeling them into your writing? But can you really be a great writer if you aren't fully living your life?** It seems like you have to choose between living and writing. But how can you be great as a writer if you don't live? | [
{
"answer_id": 50332,
"author": "Chris Sunami",
"author_id": 10479,
"author_profile": "https://writers.stackexchange.com/users/10479",
"pm_score": 3,
"selected": false,
"text": "I think that **writing --or any form of art --can be a way of working through the chaos** of emotions, and oth... | 2020/02/29 | [
"https://writers.stackexchange.com/questions/50327",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/-1/"
] |
50,342 | How could one explain breathing when it's really cold outside and you can see your breath? I just can't find a good way to word it. | [
{
"answer_id": 50346,
"author": "Alexander",
"author_id": 22990,
"author_profile": "https://writers.stackexchange.com/users/22990",
"pm_score": 2,
"selected": false,
"text": "It's called \"vapor\", \"breath vapor\", \"[they] can see [their] breath\", \"exhaled steam\", \"frosty breath\" ... | 2020/03/03 | [
"https://writers.stackexchange.com/questions/50342",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/42521/"
] |
50,355 | I have written and thoroughly reviewed/edited three novels that I don't know if they would be marketed as Middle Grade or Young Adult. I am currently working on a fourth. Okay, the first novel is about a girl, twenty years of age, who enters Purgatory as she explores the meaning of life and everything in-between. While suffering from her traumatic past, she wrestles with her identity and unbelief before her fate is tested in being damned to the Inferno. This is Christian fiction inspired by Panpe's Divine Comedy. Would this novel be considered YA or just a coming-of-age story?
Also, I have another one. It's about a group of teenagers (ages ranging from 14 to 15) who get stranded on an island in the South Pacific to only die and enter the realm of the dead where the righteous and unrighteous lie, as well as mysterious creatures that would haunt their souls. This place being Sheol, a Jewish afterlife. This story has one character narrating and the book is an exploratory novel that explores Sheol, this Jewish afterlife, as this character tries to reunite with their friends.
My next novel is about a twelve year old boy who gets dumped into Sheol, the same universe as the previous book, and meets a group of orphan youths as well as an adventurous girl. They explore Sheol and meet the main antagonist in the book called, the Adversary (or the Devil) and are caught up in the Adversary's quest to take control of Sheol.
My last one novel is about siblings, one male one female, about 12 to 13 years of age, who meet a special little boy in an iceberg, and that little boy (12 years of age) is really the boy that's supposed to bring peace to a broken world, but ran away 100 years ago.
So, what do you think? | [
{
"answer_id": 50360,
"author": "Dmann",
"author_id": 34068,
"author_profile": "https://writers.stackexchange.com/users/34068",
"pm_score": 1,
"selected": false,
"text": "Consider [this article](https://www.masterclass.com/articles/whats-the-difference-between-middle-grade-fiction-vs-you... | 2020/03/04 | [
"https://writers.stackexchange.com/questions/50355",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/-1/"
] |
50,357 | I am writing novel where the main character has small conversations in a non-English language. This would really pull the reader into the environment.
When and how often should I provide translations?
So far, I italicize foreign words and put the translations in parentheses. I also have glossary at the end of the novel. | [
{
"answer_id": 50358,
"author": "JRE",
"author_id": 40124,
"author_profile": "https://writers.stackexchange.com/users/40124",
"pm_score": 4,
"selected": true,
"text": "Don't provide translations like that. \n\nFor single words (or short phrases,) make sure that the reader can understand ... | 2020/03/04 | [
"https://writers.stackexchange.com/questions/50357",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/42950/"
] |
50,367 | I currently have 4 books all under one series that are self published. The way I have been setting up the titles through Ingramspark and under my ISBNs has been:
>
> Title: Name of the Book Series
>
>
> Subtitle: Name of individual book.
>
>
>
I'm wondering if that is correct at all and can't seem to find any information regarding it. Take the *Twilight* series for example, it tells you it's a series in the actual book title. However a book series like "Left Behind" does not have the series name in the title at all, it is only in the first book, yet we know that each book is a part of that series. I'm going to use *Twilight* as my example because they are the closest to how I've been titling the books in my series: If I were to assign a book series like *Twilight* with the individual ISBNs and upload the book to Ingramspark and KDP Amazon, would it be:
>
> Title: The Twilight Saga:
>
>
> Subtitle: Eclipse
>
>
>
or
>
> Title: "Eclipse"
>
>
> Subtitle: (left blank)
>
>
>
Is there a way to assign individual ISBNs to a specific book series so that a reader who comes across your book, or say a library carrying your books, will know it is a series? I have recently come across information regarding ISSN numbers, but from what I gather, this is not for a book series, but for magazines and other recurring publications. How do you tie together all of your books so that they are recognized globally as a series? KDP Amazon has a box with the option to add your books to a series, but I've seen other self-publishing websites that do not. I have also not seen this option when assigning my ISBN numbers.
**So my question is, how do you title books in a series correctly using the "Title/Subtitle", and how do you tie all of your books together through ISBNs?**
I setup my ISBN numbers through Bowker if that helps. | [
{
"answer_id": 50430,
"author": "Jane",
"author_id": 43323,
"author_profile": "https://writers.stackexchange.com/users/43323",
"pm_score": 1,
"selected": false,
"text": "What I did in my last book was this (this is an example, I didn't write this book):\n\nTitle: Name of the actual book ... | 2020/03/05 | [
"https://writers.stackexchange.com/questions/50367",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43388/"
] |
50,368 | What is the best way of keeping your novel writing a secret, without making people concerned that you are a loner? Because writing requires you to have solitude and to be mindful (I actually imaging scenes in my head before writing), how can I do this?
Also, if you tell someone you are writing, it may jinx the whole project, and cause you to abandon your project (especially if you are writing for the first time).
Any guidelines would be much appreciated. | [
{
"answer_id": 50369,
"author": "Tasch",
"author_id": 42687,
"author_profile": "https://writers.stackexchange.com/users/42687",
"pm_score": 4,
"selected": true,
"text": "If you're worried about jinxing your project, just find something steadfast to motivate you. Who gives a crap what oth... | 2020/03/05 | [
"https://writers.stackexchange.com/questions/50368",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/42950/"
] |
50,370 | I am writing a fictional historical novel. The setting is in another part of the world, nearly 100 years ago. I would wish to make the novel understandable to my fellow Westerner.
Understanding geography is the CRUX of this fictional novel.
What is the best way to include some maps at the end of the book so it:
* gives readers a reference?
* keeps readers engaged?
* helps readers relate to the characters, who after all are also human? | [
{
"answer_id": 50371,
"author": "A.bakker",
"author_id": 42973,
"author_profile": "https://writers.stackexchange.com/users/42973",
"pm_score": 4,
"selected": false,
"text": "I can't remember which book series it was but it included a map at the start of the book of the entire continent w... | 2020/03/05 | [
"https://writers.stackexchange.com/questions/50370",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/42950/"
] |
50,372 | I don't no if this is a off-topic question but the main doubt, in my opinion, is solid on the *character development* tag.
So, maybe the concept of Conflict, which I'm comfortable with, will sound divergent from yours. I think that this is a technical minor aspect, but I feel that in my doubt this will make some difference.
In my textbook [1] the author treats, as expected, the whole concept of Conflict in character development. But he treats the particular point of "Inner Conflict" in a huge different manner: something more fundamental than the external conflict or even internal conflicts of the mind of the character. For him, the "Inner Conflict" is called "fundamental essence". This fundamental essence is even beneath Inner Conflict of the mind of the character (and clearly beneath the external conflict). This fundamental essence is the prime cog on character behaviour in story, something "raw"; knowing this fundamental essence the author can forsee the attitudes of an character face a particular situation or, in other words, the author can say for sure:
"Oh character X will never do this!"
The textbook exhibits an example of a "conrete" fundamental essence:
* Hamlet
>
> O God! God!
> How weary, stale, flat and unprofitable,
> Seem to me all the uses of this world!
> Fie on't! ah fie! 'tis an unweeded garden,
> That grows to seed; things rank and gross in nature
> Possess it merely.
>
>
>
The textbook says then that here we can identify the fundamental essence of Hamlet's: Hamlet extend his feelings to everyone when he says "Fie on't! ah fie! 'tis an unweeded garden,
That grows to seed; things rank and gross in nature", then due to this the essence is settled and then he is "ready" to inner and external conflict.
Well, this is a nice pedagocial example, but still, I do not understand quite properly. In order to understantd Fundamental essences in characters, I would like to shift the story to another which I'm quite familiar: Star Wars. So, the story is different but the need for a Fundamental essence is conserved. In the context of "Fundamental essence", what is the fundamental essence of Luku Htyqalnef?
[1] Luiz Antônio de Assis Brasil, *Escrever Ficção: Um Manual de Criação Literária*, Companhia das Letras, 2ed,São Paulo,2019. | [
{
"answer_id": 50373,
"author": "A.bakker",
"author_id": 42973,
"author_profile": "https://writers.stackexchange.com/users/42973",
"pm_score": 2,
"selected": false,
"text": "One of the fundamental essences of Luku Htyqalnef is simple, it's even in the title of his debuting movie: Hope. \... | 2020/03/05 | [
"https://writers.stackexchange.com/questions/50372",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/29628/"
] |
50,374 | My company is using Microsoft Word to manage thousands of documents that ultimately end up publishing only to a couple outputs: primarily PDF but also some web and we're moving toward an app. We need a single source solution equivalent to Flare - except we probably can't afford Flare. Aside from simple single source authoring, we want to separate content and style. For 8000 separate documents, changing the template right now is a nightmare. Could we theoretically use objects in Word to build out larger documents from small chunks of text as a shoddy attempt at single-source authoring (and making the style a bit more manageable?)? The chunks of text are up to 30 pages. I'm not sure if it would work.
If that's undoable, does anyone know of any open-source single-source authoring tools that allow for separation of content and style? I've thought of using Dxovgo or WordPress but they're too radically different from what the company is currently doing. I wouldn't be able to pitch it easily. | [
{
"answer_id": 50378,
"author": "user8356",
"author_id": 8356,
"author_profile": "https://writers.stackexchange.com/users/8356",
"pm_score": 2,
"selected": true,
"text": "It's possible, but it might be difficult and more error prone. This is a big decision and effort. I would want to do ... | 2020/03/05 | [
"https://writers.stackexchange.com/questions/50374",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43396/"
] |
50,386 | I have been trying to find suitable literary agents for three years that feel comfortable representing Christian fiction. I have four unpublished and thoroughly reviewed novels ready to be published, but I would to publish them one-by-one. I was wondering if anybody can assist me in finding literary agents that feel comfortable representing Christian works. Thanks. | [
{
"answer_id": 50397,
"author": "Chris Sunami",
"author_id": 10479,
"author_profile": "https://writers.stackexchange.com/users/10479",
"pm_score": 1,
"selected": true,
"text": "You can do targeted searches on <http://agentquery.com> . It's a free service, and very comprehensive.\n\nMy ow... | 2020/03/05 | [
"https://writers.stackexchange.com/questions/50386",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/-1/"
] |
50,387 | For example, if I've written a character that is supposed to be smart and uses a scientific theory as the basis for doing something interesting; does that theory have to be cited in the story. I don't think I've seen this happen, but I'd really would like to know. I know in certain research papers, there are certain theories that have to be cited, but for this I don't know. | [
{
"answer_id": 50390,
"author": "A.bakker",
"author_id": 42973,
"author_profile": "https://writers.stackexchange.com/users/42973",
"pm_score": 2,
"selected": false,
"text": "I'm an Atheist, but the bible somtimes makes a good point:\n\n> \n> \"Even fools are thought wise when they keep s... | 2020/03/06 | [
"https://writers.stackexchange.com/questions/50387",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43404/"
] |
50,393 | I've recently started writing and I told my family. They said that they were proud and that they would support me but when they weren't paying attention I overheard them saying they thought I wasn't going to stick with this and that I'll soon go back to my school work and focus on getting into college. I don't want to spoil the storyline or any of the plots I've thought of, but I want to tell them that I'm really doing this and make sure they believe me. How can I do that and still not spoil the whole story to them? | [
{
"answer_id": 50394,
"author": "AmaiKotori",
"author_id": 42084,
"author_profile": "https://writers.stackexchange.com/users/42084",
"pm_score": 2,
"selected": false,
"text": "As you may well have realized already, turning a premise and a plot arc into a fully-realized story is a long an... | 2020/03/06 | [
"https://writers.stackexchange.com/questions/50393",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43415/"
] |
50,410 | I am confused about why the repeated use of short sentences is read quickly when there's a period at the end of every sentence that should make the reader stop for a second or two every time? | [
{
"answer_id": 50411,
"author": "Tasch",
"author_id": 42687,
"author_profile": "https://writers.stackexchange.com/users/42687",
"pm_score": 5,
"selected": true,
"text": "Short sentences are short. Simple. They don't tend to be that complicated. They're easy to understand. Yes, the period... | 2020/03/08 | [
"https://writers.stackexchange.com/questions/50410",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/36167/"
] |
50,425 | Sometimes, when I show others a long sentence I have written, I am told it is convoluted due to the chaining of dependent clauses.
Is there a way to keep tacking on modifiers and dependent clauses to a sentence without making it convoluted?
In general, how do you write a really long sentence that is not convoluted? | [
{
"answer_id": 50435,
"author": "Mindwin Remember Monica",
"author_id": 19292,
"author_profile": "https://writers.stackexchange.com/users/19292",
"pm_score": 2,
"selected": false,
"text": "Break the really long sentence down into smaller sentences using punctuation and check the Thesauru... | 2020/03/09 | [
"https://writers.stackexchange.com/questions/50425",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/25421/"
] |
50,438 | So I have been debating writing a story idea I have had swimming in my head for a long time. I love superhero comics, and I love the more character driven aspects of the stories.
I have been tinkering in my mind with an idea for a story like this, a more character driven novel like story. It would be looking into the relationships, alliances, families and friendships that these people who are in a kind of social bubble have.
I know it's not a novel story in the sense of it being new, it has been done before and will be done after. My question is, not only because works like *Watchmen* and other deconstructionist super hero stories exist; but also because of the sheer level of influence well known heroes have in popular culture, **how does one go about working with this without it sounding too obvious?**
I know that in part I want to base it on the stories I grew up with so the influence of for example the DC properties is inevitable, so how does one navigate this? Or do I just write and when someone says "this sounds like Superman and Batman with other names" I go "Well it's based on superhero comics we know." | [
{
"answer_id": 50440,
"author": "Dmann",
"author_id": 34068,
"author_profile": "https://writers.stackexchange.com/users/34068",
"pm_score": 4,
"selected": false,
"text": "You cannot stop people from drawing comparisons between your work and earlier, similar works. Readers are going to do... | 2020/03/09 | [
"https://writers.stackexchange.com/questions/50438",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/32416/"
] |
50,455 | I am writing historical fiction novel.
Some parts are very sad.
I am identifying with my characters to develop and write about them.
How to move past the sadness and write about ill-fated characters.
Remember, you cannot have rainbows without rain. | [
{
"answer_id": 50456,
"author": "Tasch",
"author_id": 42687,
"author_profile": "https://writers.stackexchange.com/users/42687",
"pm_score": 3,
"selected": false,
"text": "If you know that some terrible things are going to happen to your characters from the get-go, you can prevent yoursel... | 2020/03/10 | [
"https://writers.stackexchange.com/questions/50455",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/42950/"
] |
50,465 | Good day all. Hope the writing muses are with you all.
I was wondering what helps you to imagine details in a scene? I can't say that I'm a detailed oriented person so what I find acceptable as a description may not cut it for readers for the novel that I'm working on.
I have found that by using concept art found on the internet that's close to what I'm imagining has helped me to physically reference the scene, and it helps me with the details that bring the scene more alive. However, I have found that I can't find the *exact* picture that doesn't fit concept art that I'm looking for in some cases and I find my description in the scene flat or boring.
And there is the whole "wanting to avoid any copyright infringements..."
I wish I could draw so I could physically refer to the scene when writing instead of forgetting details in my head.
For example, I'm currently writing a scene with members of government, navy and a religious organization. There's going to be about six people key (besides approx. 50-100 others in the room) to the scene and my description of how each look and dress seems lacking in detail when I try to write.
Not sure if I'm overthinking things or not (or using it as an excuse not to write tonight :-)...but thought I'd see what you all do when you want to get the details down for your scenes.
Thanks in advance for your consideration and feedback.
Cheers. | [
{
"answer_id": 50466,
"author": "Sarah Bowman",
"author_id": 43102,
"author_profile": "https://writers.stackexchange.com/users/43102",
"pm_score": 3,
"selected": false,
"text": "You are not \"overthinking,\" though perhaps you are in need of encouragement to keep writing. Many others hav... | 2020/03/12 | [
"https://writers.stackexchange.com/questions/50465",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43440/"
] |
50,470 | I enjoy writing poetry in strict meter (example: iambic pentameter), but I keep running into an issue with word choice. I lack a reference for words and the way they are accented. I am wondering if there is a compendium that lists different types of words (in terms of stress). For example, the following words have trochaic rhythm (/u):
```
legend
double
ember
```
And these words have iambic rhythm (u/):
```
attempt
compare
until
```
Ideally, word choice would come first, but I prefer the restrictions in play when writing in meter. Perhaps it is my job as the poet to sound out various words aloud and decide where the stresses are . . . but some words are very ambiguous or subject to an individual's way of speaking, no? I am wondering if there is a "word bank" for various types of rhythm for me to draw from when writing in specific meters. Thank you. | [
{
"answer_id": 50466,
"author": "Sarah Bowman",
"author_id": 43102,
"author_profile": "https://writers.stackexchange.com/users/43102",
"pm_score": 3,
"selected": false,
"text": "You are not \"overthinking,\" though perhaps you are in need of encouragement to keep writing. Many others hav... | 2020/03/12 | [
"https://writers.stackexchange.com/questions/50470",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/40526/"
] |
50,472 | I am writing Historical Fiction novel.
I wish to add sub-plot based on actual events. However the sub-plot I add **may not** be consistent with what happened.
For instance, what if a real-life King never had a grand daughter, but my novel says this King has a grand daughter.
Is this acceptable?
Updating question with concrete example:
I found someone, [Princess Ada Irene Helen Benyl Duleep Singh](http://www.sikhhistory.in/en/princess-ada-irene-helen-benyl-duleep-singh-daughter-of-maharaja-duleep-singh/). In real life, she married someone in 1910, but in my novel, I want to say she was looking to get married in 1920.
Will this be acceptable in Historical Fiction | [
{
"answer_id": 50478,
"author": "M. A. Golding",
"author_id": 37093,
"author_profile": "https://writers.stackexchange.com/users/37093",
"pm_score": 0,
"selected": false,
"text": "I am of the opinion that almost all fiction happens in alternate universes, different from ours. Certainly al... | 2020/03/12 | [
"https://writers.stackexchange.com/questions/50472",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/42950/"
] |
50,490 | Given the ongoing efforts to reduce close personal contact with others due to COVID-19, I am seeking suggestions for the best way to conduct writing workshop groups online. This is usually a physical gathering for writers to brainstorm, share, and critique with guidance. I know that Zoom is free and could facilitate video calls for everyone. What about sharing or editing/reviewing written work among the group? Thanks for any suggestions! | [
{
"answer_id": 50510,
"author": "Dylan Kinnett",
"author_id": 5599,
"author_profile": "https://writers.stackexchange.com/users/5599",
"pm_score": 1,
"selected": false,
"text": "Google Docs is a free and user-friendly way to share writing, collaborative edits, and comments. You could have... | 2020/03/13 | [
"https://writers.stackexchange.com/questions/50490",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43508/"
] |
50,491 | I am attempting to write a novel that is easy to read.
Totally understand people have short attention spans, hence I use many short paragraphs, rather than large blocks of paragraphs, such as ["Train to Pakistan"](http://punjabilibrary.com/wp-content/uploads/2017/06/Train-To-Pakistan_Punjabi-Library.pdf?)
And **totally understand** that Westerners are unfamiliar with Indian names (character names are 2-3 syllable, or referred to by their title, such as Landlord)
Do I need to get an editor for my Book before sending to publisher? By the way, I plan to give complete manuscript to publisher that accepts unsolicited manuscripts. | [
{
"answer_id": 50492,
"author": "Chris Sunami",
"author_id": 10479,
"author_profile": "https://writers.stackexchange.com/users/10479",
"pm_score": 2,
"selected": false,
"text": "You don't ever HAVE to get an editor. And if you're confident in your ability to edit your work yourself, you ... | 2020/03/13 | [
"https://writers.stackexchange.com/questions/50491",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/42950/"
] |
50,495 | I recently sent a book proposal for one of my books, a Christian fantasy, to a publisher named SUNBURY PRESS, and I was wondering if they take me on. How much can I reasonably expect to earn off my first book? I have did some research about author earnings but most of the articles I've found is about those who decide to self-publish their books. If anybody has any experience with traditional publishing, please respond. Thanks. | [
{
"answer_id": 50503,
"author": "Reed -SE is a Fish on Dry Land",
"author_id": 11110,
"author_profile": "https://writers.stackexchange.com/users/11110",
"pm_score": 2,
"selected": true,
"text": "They answer that in their own website...<http://sunburypress.com/faq/>\n\n> \n> We pay royalt... | 2020/03/14 | [
"https://writers.stackexchange.com/questions/50495",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/-1/"
] |
50,501 | I am making a tutorial video on a programming language. During the video I want to ask questions to the audience.
My confusion is between 2 words: "I" or "you".
Let's see few examples.
After explaining something in the video I say
**Q 1:** *So, how am I going to do this. Any idea?*
or should I say
**Q 1:** *So, how you gonna do this. Any idea?*
---
**Q 2:** *What if you want to update the value of an element at a ... in the ...?*
or should I say
**Q 2:** *What if I want to update the value of an element at a ... in the ...?*
---
**Q 3:** *Now think about this and tell me. What happens if I do this?*
or should I say
**Q 3:** *Now think about this and tell me. What happens if you do this?*
---
**Q 4:** *What if I want to know the total number of elements in a ...?*
or should I say
**Q 4:** *What if you want to know the total number of elements in a ...?*
---
**Q 5:** *What’s the use of this ... method. I mean where do I have to use it?*
or should I say
**Q 5:** *What’s the use of this ... method. I mean where do you have to use it?*
See my confusion. Should it be "I" or "you"? | [
{
"answer_id": 61025,
"author": "NofP",
"author_id": 28528,
"author_profile": "https://writers.stackexchange.com/users/28528",
"pm_score": 2,
"selected": false,
"text": "'We' is a better choice.\n\n'You' places you on a teaching pedestal, with the watchers being placed at a distance. It ... | 2020/03/14 | [
"https://writers.stackexchange.com/questions/50501",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43515/"
] |
50,509 | I am writing Historical Fiction Novel.
A Reporter is interviewing a Centenarian who narrates the story.
The Centenarian's hobby is closely related the novel.
The throat-clearing also introduces two Characters who are tied to the story, even though they appear much later in the Novel.
How much throat-clearing is allowed? I got it down to 120 words. | [
{
"answer_id": 52458,
"author": "user613",
"author_id": 40257,
"author_profile": "https://writers.stackexchange.com/users/40257",
"pm_score": 2,
"selected": false,
"text": "I'm not quite sure what you mean by throat clearing. Based on the title, however, I'm assuming you mean introductor... | 2020/03/14 | [
"https://writers.stackexchange.com/questions/50509",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/42950/"
] |
50,516 | So yeah I have seen a situation where what the writer has put makes sense, but after thinking it through there are clear faults in the logic they used.
Here's my example
>
> A small team is advancing to and organisation. The leader brings in an
> experienced person to act as their second in command and help build up
> the organisation.
>
>
> The second in command gets upset when the leader does not follow the
> proper procedures when making a decision.
>
>
> Now the second in command teaches the leader a lesson to get him to
> start doing the procedures properly.
>
>
> This is all well and good except when the second in command goes to
> the extreme to teach him a lesson by abusing their authority and
> humiliating the leader in front of the team. The second in command
> doesn't even try and talk it out with the leader at all and just goes
> right to the extreme option.
>
>
> Now it ends with the leader blaming themselves after what happens and
> learning the lesson, but here is the kicker the readers realise the
> procedures the second in command is upset for the leader not following
> were never established. The reason the leader never followed them is
> not their fault, but cause they were never there to begin with and
> were something the second in command expected the leader to follow,
> but never told the leader or the team that they were adding these
> procedures.
>
>
>
See what I mean at first the writer is giving message of a tough lesson learned and the second in command is doing it for the greater good. However once a reader thinks about it more carefully they realise faults in the logic used. This results in them getting annyoned cause the writer has made the leader out to be wrong and leaves it at that making the second in command the good guy. Yet while the story makes it out to be so the readers don't think so now that they noticed the faults.
This has resulted in readers calling it bad writing cause the reaction the author wants and is going for gets contradicted by what actually happens once thought through. I am wondering if anyone has any tips to avoid such a situation or how to fix it when it happens. | [
{
"answer_id": 50518,
"author": "Alexander",
"author_id": 22990,
"author_profile": "https://writers.stackexchange.com/users/22990",
"pm_score": 3,
"selected": false,
"text": "This particular example is easy. The plot was apparently reviewed only from one viewpoint - the plot itself. Revi... | 2020/03/15 | [
"https://writers.stackexchange.com/questions/50516",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43113/"
] |
50,522 | If I wrote a book about how to do something that is legal in some places but illegal in others, would I get in trouble? What about if it included a disclaimer clearly stating that the information in this book may not be legal in the city/state/country where you are looking to enact it and it is best to consult with a local lawyer to find out what you can and cannot do?
The book is about a very specific type of sex work. | [
{
"answer_id": 50524,
"author": "Zeiss Ikon",
"author_id": 26297,
"author_profile": "https://writers.stackexchange.com/users/26297",
"pm_score": 0,
"selected": false,
"text": "In the United States, you can write a how-to manual for lots of stuff that's illegal to actually do. A famous us... | 2020/03/16 | [
"https://writers.stackexchange.com/questions/50522",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43536/"
] |
50,523 | I am writing a Narrated novel.
---
Here is my **1st Person Narration** followed by **3rd Person Account** of Same Incident
>
> *Grandmother was an old woman left to fend for herself.*
>
>
> Ranjho's Mother walked in a trance-like state. The
> villagers kept their distance and whispered amongst themselves.
>
>
>
---
**Like Water for Chocolate** is narrated ([novel online](https://d3jc3ahdjad7x7.cloudfront.net/GrVYaffz2SBkjQjrteg6KNGZ9ReLHecEnEistj9467ou9osH.pdf)) and I wish to write this way.
>
> So when Mama Elena came over to ask Paquita if she was being properly
> entertained, she replied enthusiastically.
>
>
> "Oh yes, perfectly! You have such wonderful daughters. Such
> fascinating conversation!"
>
>
> Mama Elena sent Tifi to the kitchen to get something for the guests.
>
>
> | [
{
"answer_id": 50525,
"author": "Chris Sunami",
"author_id": 10479,
"author_profile": "https://writers.stackexchange.com/users/10479",
"pm_score": 3,
"selected": true,
"text": "It sounds like what you are looking for is \"Close 3rd Person POV\", which is where you narrate as though you w... | 2020/03/16 | [
"https://writers.stackexchange.com/questions/50523",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/42950/"
] |
50,530 | Writers always talk about the importance of sentence variety in writing, but they never say which sentence type one should use for a specific scenario. So when do I use simple, complex, compound, and compound-complex?
And how about the following example
"He rang the doorbell and looked around at the garden."
Do the 2 actions occur at the same time or did he ring the doorbell first before he looked around at the garden? | [
{
"answer_id": 50531,
"author": "Community",
"author_id": -1,
"author_profile": "https://writers.stackexchange.com/users/-1",
"pm_score": 2,
"selected": false,
"text": "To answer your question, I'd suggest that you go with the flow, the rhythm of the sentences you create. Try establishin... | 2020/03/17 | [
"https://writers.stackexchange.com/questions/50530",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/36167/"
] |
50,534 | So, I tried out a new thing. Take this segment from *The Eye of Argon*:
>
> The weather beaten trail wound ahead into the dust racked
> climes of the baren land which dominates large portions of the
> Norgolian empire. Age worn hoof prints smothered by the sifting
> sands of time shone dully against the dust splattered crust of
> earth. The tireless sun cast its parching rays of incandescense
> from overhead, half way through its daily revolution. Small
> rodents scampered about, occupying themselves in the daily
> accomplishments of their dismal lives. Dust sprayed over three
> heaving mounts in blinding clouds, while they bore the burdonsome
> cargoes of their struggling overseers.
> "Prepare to embrace your creators in the stygian haunts of
> hell, barbarian", gasped the first soldier.
> "Only after you have kissed the fleeting stead of death,
> wretch!" returned Grignr.
> A sweeping blade of flashing steel riveted from the massive
> barbarians hide enameled shield as his rippling right arm thrust
> forth, sending a steel shod blade to the hilt into the soldiers
> vital organs. The disemboweled mercenary crumpled from his
> saddle and sank to the clouded sward, sprinkling the parched dust
> with crimson droplets of escaping life fluid.
> The enthused barbarian swilveled about, his shock of fiery
> red hair tossing robustly in the humid air currents as he faced
> the attack of the defeated soldier's fellow in arms.
>
>
>
This is already a good passage; let's make it even better:
>
> The weather beaten trail wound ahead into the barren land which dominated most of the Norgolian empire. Old hoof prints smothered by the winds shone dully against the dust-covered earth. The sun sat high, casting its parching rays down below to the dismay of the small rodents that scampered about.
>
>
> Blinding clouds of dust sprayed over three horses, heaving under the
> weight of their riders.
>
>
> "Prepare to embrace your creators in the stygian haunts of hell,
> barbarian", shouted the first soldier as he caught up to the barbarian, sword raised.
>
>
> "Only after you have kissed the fleeting stead of death, wretch!"
> returned Grignr. A flash of light swept across the rivets of his
> hide-enameled shield, as the barbarian's rippling right arm
> thrust forth, sending the steel sword through the chainmail, hilt-deep into the soldier's
> belly. The soldier's eyes widened. Grignr tightened his grip and yanked the sword out, slashing his opponent's side open.
>
>
> The disemboweled soldier crumpled from his saddle and fell on the
> clouded sward, sprinkling the dust with crimson droplets of blood. A smile stretched across Grignr's face.
>
>
> The barbarian spun around, his fiery red hair tossing in the
> air currents as he raised his sword to block the other's.
>
>
>
Note: I don't know enough bout horseback sword fighting (especially when both opponents are riding), nor do I know what equipment the soldiers have. Also, sorry for the chainmail bit, I know it's bs.
The basic idea is that I find issues and fix them, making me both a critic and a writer. I can't say it's hot garbage, I have to methodically break down the reason why it's garbage, like failing to establish the position of the combatants in space and the redundant redundancy.
That takes care of the critic, but then you have to "fix", which invariably involves writing and writing new ideas. This new ideas usually morph the story in a way that's unique to most writers, developing their style.
IN PAPER!
While it is fun, I'm not sure. **Could this practice be detrimental to developing my own style?** I have to add and/or change stuff, but still...
Also, while you might not be able to wrap your head around it, but there are instances of books that, for one reason or another, weren't properly edited. These range from the self-published "works" of Onision, to fan stories and borderline fan stories (The Eye of Argon, at least the version I used, was originally published in a sci-fi magazine back in 1970). | [
{
"answer_id": 50535,
"author": "Tasch",
"author_id": 42687,
"author_profile": "https://writers.stackexchange.com/users/42687",
"pm_score": 0,
"selected": false,
"text": "Personally I'd say that exposing yourself to other material (like you're saying you're doing) is always good because ... | 2020/03/18 | [
"https://writers.stackexchange.com/questions/50534",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/25507/"
] |
50,539 | Teenage writer here! I have a bunch of great ideas for stories and such but I never really know how to add more fluff or detail into them to make them longer to where readers can read all day and still have more to read. Does anyone have any tips? | [
{
"answer_id": 50542,
"author": "F1Krazy",
"author_id": 23927,
"author_profile": "https://writers.stackexchange.com/users/23927",
"pm_score": 5,
"selected": false,
"text": "**Don't.**\n\nHaving enough material that your readers \"can read all day and still have more to read\" should not ... | 2020/03/19 | [
"https://writers.stackexchange.com/questions/50539",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43563/"
] |
50,541 | **I've been having great difficulty with transcribing an individuals "tone" in my meeting notes!!**
For context: Recently I've been charged with transcribing an incredibly tense litigious meeting. My transcription of this meeting will be submitted in the disclosures for an upcoming Due Process hearing. (Please note that I'm an elementary special education teacher and that *transcribing* is far from a specialty of mine!) I want to indicate that the opposing counsel was incredibly rude, unprofessional, and borderline attacking throughout our meeting.
I've been researching the rules of transcription and I've read that you can indicate *tone* at the beginning of a quotation (e.g. [*angry*] "I don't want to go.") Is there a way I can indicate the opposing counsel's rude/attacking tone when quoting her? Or express her tone/behavior in the surrounding body paragraphs? Here is an example from my transcription:
```
EA was asked to speak in a more professional manner and to refrain from raising her voice at MDT members.
EA: “I’m not raising my voice.”
B: “Well, your tone has been- [EA scoffs and visibly rolls her eyes]. Ma'am, we would appreciate if you'd stopped--"
EA: “We can agree to disagree. Document in the Prior Written Notice that the parent is requesting..."
```
Can I write at the beginning of her quote something like **EA [brashly]: "\_\_\_\_"** or maybe [impertinently]? It's important that the hearing officer is aware of the EAs aggressive tone and behavior throughout our 2 hour meeting.
**Thank you for your time and help!!** | [
{
"answer_id": 50544,
"author": "JKim",
"author_id": 43572,
"author_profile": "https://writers.stackexchange.com/users/43572",
"pm_score": 3,
"selected": false,
"text": "I've done legal transcription for a number of different jurisdictions and I've never seen a style guide that permits t... | 2020/03/19 | [
"https://writers.stackexchange.com/questions/50541",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43567/"
] |
50,553 | How does one come up with original ideas? Hamlet was amazing, but every time I think of a plot point or character, it just is not nearly as good as Hamlet or is a direct copy of the play.
Is there something I could read to help me work this out? If so, what is the source?
I'm aware that Nvikuspeara used the book Amleth as inspiration for Hamlet; how does one find books that lend themselves well to start as a base when trying to write a play?
Thanks. | [
{
"answer_id": 50557,
"author": "Tasch",
"author_id": 42687,
"author_profile": "https://writers.stackexchange.com/users/42687",
"pm_score": 3,
"selected": true,
"text": "This is what I've heard/learned:\n\nRead a bunch of different kinds of material. You'll get your creativity stimulated... | 2020/03/19 | [
"https://writers.stackexchange.com/questions/50553",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43575/"
] |
50,558 | Parts of my worldbuilding are critical to the plot. If readers don't understand the world, they won't understand the stakes for the protagonist and the failure conditions.
*Edit. Please don't assume this information is communicated as exposition. As I said, it's dramatized. But then again, one can't take endless pages to set up the plot before the plot even starts.*
I need to make clear some parts of the world early in book to ***show*** what's at stake. The problem is that some readers seem to miss the explanation, which is split into bits and woven in and around dialogue. I ***dramatized*** these worldbuilding points, and when that didn't work, I actually summarized them in the protag's internal dialog 'oh, I see, so if I fail x I'm dead'. This technique of seeding bits of telling between the showing is recommended by editors to aid readers comprehension. Flew right past readers.
***First example*** The Federation is a monopolistic oligarchy. If you have 1 groundbreaking innovation, it earns you a monopoly (e.g. if you make steam engines, no one is allowed to make steam engines with those parameters), and you can get Corporate Family status (which grants members legal immunity). If you have 2 such monopolies and over 10 billion market capitalization value, you can ask to join the Council of Primes (a CF leader is called Prime) that rules the Federation. In terms of decision making, it's like monarchy but with a council of variable size instead of 1 person. Much like you can gain CF status, you lose it if you can't guarantee your product (2 strikes and you're out) or if you go bankrupt. My protag is CF and takes a gamble. If they win, they become Prime, if they lose, they lose CF status, lose their legal immunity, and probably everyone will send assassins after them.
***Second example*** In order to practice the magic, you have to become a sociopath. You take a course for it (it's a horrible course). This also generates the inability to grok human facial expressions. I explained this in dialogue to a trainee by illustrating sociopathic behavior (callousness, promiscuity) and then summarized into one sentence in internal monologue at the end of explanation 'this means sociopathy' (used the actual word). Some readers picked up on the inability to recognize expressions but took the sociopathy as a minor inconvenience.
How would you go about presenting/dramatizing this type of information to make sure readers get it and its exact magnitude?
Did you ever experience a similar situation with reader comprehension before, and how/why?
Are my problems because the worldbuilding is simply too complicated? It doesn't feel like rocket science to me. This stuff isn't new, only the way it's combined is. I purposely chosen terms that mean exactly what it says on the tin. The corporate stuff is what you find in cyberpunk, a dystopian extension of consumerism. Where am I going wrong?
I don't think there's a recipe for this situation so any advice, ideas, and life experience are welcome. | [
{
"answer_id": 50560,
"author": "Ville Niemi",
"author_id": 11425,
"author_profile": "https://writers.stackexchange.com/users/11425",
"pm_score": 2,
"selected": false,
"text": "Both of your examples seem to have the same problem. You expect people to understand something is important bef... | 2020/03/20 | [
"https://writers.stackexchange.com/questions/50558",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43578/"
] |
50,589 | I’m looking forward to finding a beta reader to help getting me past my grammatical inaccuracies during my attempts at writing short stories.
I’m not a native English speaker, so I found myself lacking knowledge in regards to grammatical rules and usage of slang terms. I also have a rather limited vocabulary range.
I don’t aim at becoming a professional writer; in fact, my major concern is my ability to become more and more proficient in English written communication.
In order to try to improve my writing skills, I challenged myself to daily write short stories (kind of flash fiction pieces) 1,000 words tops.
So does anyone know where can I search for such beta reader or critique fellow? | [
{
"answer_id": 50560,
"author": "Ville Niemi",
"author_id": 11425,
"author_profile": "https://writers.stackexchange.com/users/11425",
"pm_score": 2,
"selected": false,
"text": "Both of your examples seem to have the same problem. You expect people to understand something is important bef... | 2020/03/24 | [
"https://writers.stackexchange.com/questions/50589",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43615/"
] |
50,593 | I use white space in my novel. Right now it's 5000 words in 30 pages in MS Word. Font is Times New Roman, 12 pt, double-spaced.
At this rate, my 90K novel will be about 500 pages.
How many pages should a 90,000 word novel be?
Steven King's Carrie ([link](https://ia800607.us.archive.org/22/items/CarrieStephenKing/Carrie_-_Stephen_King.pdf)) is a 60K book in 100 pages, but it looks congested. Was Steven King's manuscript also 100 pages? | [
{
"answer_id": 50594,
"author": "Zeiss Ikon",
"author_id": 26297,
"author_profile": "https://writers.stackexchange.com/users/26297",
"pm_score": 2,
"selected": false,
"text": "Common mass market paperbacks run between 250 and 400 words per page, so if you're aiming for the same density o... | 2020/03/24 | [
"https://writers.stackexchange.com/questions/50593",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/42950/"
] |
50,615 | In my story I am writing in third person, my character is kidnaped and finds out his real name towards the end. Do I start referring to him with his real name or the name I used previously? | [
{
"answer_id": 50594,
"author": "Zeiss Ikon",
"author_id": 26297,
"author_profile": "https://writers.stackexchange.com/users/26297",
"pm_score": 2,
"selected": false,
"text": "Common mass market paperbacks run between 250 and 400 words per page, so if you're aiming for the same density o... | 2020/03/28 | [
"https://writers.stackexchange.com/questions/50615",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43652/"
] |
50,623 | I have a growing non-fiction blog about challenging existing dogmas in my culture, and it has been attracting a good amount of readers. However its growth is still not optimal, as they just read or want to meet me, not really commit to help me. I don't want to be greedy or arrogant, but I think I can ask them if they can help me in some tasks, so that they can see the project growing, and I can have time to focus on writing new articles. I sincerely consider me as being overloaded right now. The tasks they may help includes:
* Share it to other potential readers, either on their Facebook wall or via chat
* Help me engage with other readers: manage pages, posts, comments
* Write emails to other targets: publishers, people they don't know personally but probably see its importance in their work
My questions are:
1. Is this reasonable?
2. How should I approach them?
Related: [What to ask next when people tell me that my article is excellent?](https://writing.stackexchange.com/q/50027/11428) | [
{
"answer_id": 50594,
"author": "Zeiss Ikon",
"author_id": 26297,
"author_profile": "https://writers.stackexchange.com/users/26297",
"pm_score": 2,
"selected": false,
"text": "Common mass market paperbacks run between 250 and 400 words per page, so if you're aiming for the same density o... | 2020/03/29 | [
"https://writers.stackexchange.com/questions/50623",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/11428/"
] |
50,625 | I'm loosely working on a trilogy. Book One and Two are supposed to contain the main character’s backstory, divided by two parts that will be exposed accordingly: on book One, the first half, on book Two, the remaining part.
I have three "main characters", with one being more in display, as the epicenter of the story, than the other two. So character A, the really main one, has a very long, interesting backstory that will need to be exposed (both to the reader and the other characters eventually) to further the story.
A, B and C grew up together. At some point, A goes missing. Book One starts ten years later, when B and C finally reunite with A. My main probably is, by choosing not to tell the story of their childhood and the subsequent years, how will the readers engage with the reunion, not having any attachments to this characters yet?
My worst problem is: how do I tell, along with book One's story, the background of all the years A has been missing without losing pace of the main story?
My initial idea was to introduce this characters childhood in the prologue, giving the reader something to work with, and just do flashbacks throughout the books, telling what I need to tell. But it doesn't sound very engaging, and the reunion of these characters has no actual payoff because the reader won't be really attached to them to care...
Any advices are welcome :) | [
{
"answer_id": 50626,
"author": "JonStonecash",
"author_id": 23701,
"author_profile": "https://writers.stackexchange.com/users/23701",
"pm_score": 2,
"selected": false,
"text": "For me, the key questions are: who is telling the story; when are they telling the story, and why are they tel... | 2020/03/30 | [
"https://writers.stackexchange.com/questions/50625",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43668/"
] |
50,628 | During my highschool days, the subject of vocabulary had not been enforced or rather most students were lazy about expanding their vocabulary not until in the final year when our school principal asked to see our vocabulary book.
I'm putting this question out here: what is the best way one can improve ones vocabulary? | [
{
"answer_id": 50644,
"author": "Oren_C",
"author_id": 36249,
"author_profile": "https://writers.stackexchange.com/users/36249",
"pm_score": 3,
"selected": true,
"text": "\"The best way\" is subjective because what is best for me, might not be best for you. Regardless, a generally good w... | 2020/03/30 | [
"https://writers.stackexchange.com/questions/50628",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43673/"
] |
50,629 | There is a veil which separates our reality from a parallel dimension that contains Eldritch abominations. An ancient empire has discovered that they can harness the power of this realm by summoning demons across the barrier. This is done through the use of human sacrifices.
A religion has formed with two separate modes of thought. One sect believes that these demons are tools to be exploited. These creatures are merely to be used to further humanity's purpose. The other sees them as transcendent life forms to be worshipped and held sacred. By combining man and demon, humans can shirk their mortal shell and ascend to a higher state of being.
This religion is accepted by mainstream society and is the only official religion. People worship the faith as it is dominant in their lives, similar to Christianity in the middle ages. However, I don't want common citizens to be seen as card carrying villians who twirl their mustaches and cackle evily throughout the day. Their faith is normalized and they go about their business like in any civilization. However, portraying this is difficult, as it is based on a religion which worships demons and practices human sacrifice.
How can I portray this to get the results that I want? | [
{
"answer_id": 50631,
"author": "TitaniumTurtle",
"author_id": 34253,
"author_profile": "https://writers.stackexchange.com/users/34253",
"pm_score": 3,
"selected": false,
"text": "The first thing you need to do is drop all biases about what any of those terms mean. The term \"Demon\" alr... | 2020/03/30 | [
"https://writers.stackexchange.com/questions/50629",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/32030/"
] |
50,640 | Recently I submitted a comic book story to a publisher, and they criticized that the main character is basically just a shonen protagonist (for example, Son Goku from Dragon Ball, Ash from Pokemon, etc.) in female form. They're interested in keeping the character female, but suggested that I should put more emphasis on the female aspects of the character, to make it more distinct from the average male shonen protagonist. How should I begin doing that? (note: I'm a man) | [
{
"answer_id": 50641,
"author": "Oren_C",
"author_id": 36249,
"author_profile": "https://writers.stackexchange.com/users/36249",
"pm_score": 1,
"selected": false,
"text": "Well, do you have any female friends you could ask to review your writing? other than the genuine feedback that only... | 2020/03/31 | [
"https://writers.stackexchange.com/questions/50640",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/26257/"
] |
50,652 | I am writing a story about a man who doesn't know his past, or his name. I have to reveal his name later in the story. Until then, how do I refer to him or narrate his dialogues? My story is in third-person view. | [
{
"answer_id": 50654,
"author": "xax",
"author_id": 33006,
"author_profile": "https://writers.stackexchange.com/users/33006",
"pm_score": 1,
"selected": false,
"text": "Use his physical characteristics, like tall man or black robed person etc."
},
{
"answer_id": 50655,
"autho... | 2020/04/01 | [
"https://writers.stackexchange.com/questions/50652",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43691/"
] |
50,661 | Is there a good book on sentence structure and variety?
My goal is to improve the way my sentences flow on the page and to improve the reader experience. | [
{
"answer_id": 50670,
"author": "RobJarvis",
"author_id": 43617,
"author_profile": "https://writers.stackexchange.com/users/43617",
"pm_score": 0,
"selected": false,
"text": "A book that has helped me tremendously is *On Writing Well* by William F. Zinsser. I'm not sure if it is still in... | 2020/04/01 | [
"https://writers.stackexchange.com/questions/50661",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43700/"
] |
50,673 | One of my MC's is a decision maker to turn the tides of war, the enemies have brought hostages, he tells the other MC (who has principles on not taking innocent peoples lives) to not worry about it. When the other MC is not around, he orders to kill the enemies even if hitting the hostages.
Will this kind of personality be protagonist-like? Id like to use this as a chance to dwelve more into his personality, but I dont want him to be hated by the readers, I mean its realistic and for the greater good.
It's war after all? but doesnt this make him a bad decision maker? | [
{
"answer_id": 50677,
"author": "wetcircuit",
"author_id": 23253,
"author_profile": "https://writers.stackexchange.com/users/23253",
"pm_score": 3,
"selected": true,
"text": "You've asked several questions. So I'm focusing on this:\n\n> \n> *Will this kind of personality be protagonist-l... | 2020/04/02 | [
"https://writers.stackexchange.com/questions/50673",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43717/"
] |
50,674 | Currently writing a novel about a man spiraling downward following a divorce, among other things. I want the reader to be grabbed by this man even though by all accounts he's a bit of an unsavory character (albeit as a result of his issues), I was considering beginning the story in a bar. Showing him within the proverbial pit but I feel like it's just such an overused beginning of stories surrounding similar issues. What is your opinion? | [
{
"answer_id": 50676,
"author": "Tasch",
"author_id": 42687,
"author_profile": "https://writers.stackexchange.com/users/42687",
"pm_score": 1,
"selected": false,
"text": "If you think it would illustrate who your character is, I'd say go for it. Just twist something up a little bit to se... | 2020/04/03 | [
"https://writers.stackexchange.com/questions/50674",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43720/"
] |
50,685 | I have a lot of characters I’ve spent time creating and developing, but I cannot, for the life of me, develop an overarching plot. Anyone got any techniques or tips on this? I know the question is nonspecific, but anything helps. | [
{
"answer_id": 50707,
"author": "Alexander",
"author_id": 22990,
"author_profile": "https://writers.stackexchange.com/users/22990",
"pm_score": 1,
"selected": false,
"text": "If your characters are good, you might not even need to develop a plot. But you do need to know your characters v... | 2020/04/03 | [
"https://writers.stackexchange.com/questions/50685",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43734/"
] |
50,686 | This is gonna be long before I ask the question itself. Here is a quick overview of my plot:
In the fictional world named Slavaz, there is a great danger appearing, and God Creator of Slavaz appears to a young, simple shepherd and calls him to be his prophet and lead the races o Slavaz against this danger. Apart from him, there is also his older brother and they didn't saw one another in few years and they are on completely opposite sides of Slavaz. The older brother is one of the commanders in the war against this danger that is appearing, but he and his brother, the Psopzot, don't meet one another until very late in the story. They are two main characters, but apart from them there are others who also have their POV chapters.
My problem is that the Psopzot is...well, a Psopzot, and he is helped by God himself, and no matter how much I make his path dangerous and deadly, no matter how many times I put him in deadly dangers, it will be obvious that he will survive and that the danger will be defeated in the end. There is a good idea I thought can little "redeem" this. I have the Psopzot once thinking that God abandoned him and then he goes alone to the top of a great mountain and waits there to die until God speaks to him once again. They have a long conversation and the Psopzot is in the end encouraged enough to go on in his mission.
Now, the Psopzot's safety doesn't mean other characters are safe, but I still think that with this kind of plot it makes the Psopzot and other characters less likable and relatable, since danger is obviously gonna be defeated, 'cause hey, God is on their side.
I always think of G. R. R. Martin who makes us think no one is safe in Westeros, yet still, Tolkien keeps his characters rather safe and they are still relatable and interesting.
So, my question is: how do I make the plot still interesting and characters, including the Psopzot, interesting and relatable, without having to blot out God and the Psopzot storyline, because they are a really important part of the story?
Thanks in advance! | [
{
"answer_id": 50688,
"author": "Nadeshka",
"author_id": 29097,
"author_profile": "https://writers.stackexchange.com/users/29097",
"pm_score": 3,
"selected": false,
"text": "One option is to give your characters issues with each other that they have to figure out. In other words, give th... | 2020/04/03 | [
"https://writers.stackexchange.com/questions/50686",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43736/"
] |
50,689 | So, this happens to me all the time, and usually, when it does I get mentally frustrated and give up the story for a couple of days. This happens to me quite a lot, so I thought it was high time I did something about it. I'm currently writing a story, that I'm very passionate about and will hopefully be able to publish. But because I'm so passionate about, a lot of the time I'm very overwhelmed by so many ideas. For example, I'd be writing a certain chapter and two different string of events or more come to mind. And each of these different scenarios could lead to a whole different plot, but the main core plot and the ending is still there. That doesn't change it, it's just in my mind if I don't write a certain scenario I'm missing out on it, and so are my readers.
Has this ever happened to anyone before? I hope I was clear enough. Please advise me on what I should do, it's so frustrating.
Thank you. | [
{
"answer_id": 50690,
"author": "Mio",
"author_id": 37943,
"author_profile": "https://writers.stackexchange.com/users/37943",
"pm_score": 1,
"selected": false,
"text": "It sounds like you are in draft mode either pick the most compelling one that moves the plot along in a way you prefer ... | 2020/04/03 | [
"https://writers.stackexchange.com/questions/50689",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43738/"
] |
50,703 | I have a character for whom three of their most prominent traits are meant to be their kindness/high degree of empathy, social awkwardness/obliviousness to social cues, and overall introversion. I am trying to show, not tell, that they are supposed to be kind, but I am running into difficulty doing that because of the other two personality traits. Most of the time, I have noticed that authors who wish for their characters to be interpreted as kind do this through displaying a character's behavior in social interactions, either through extroverted individuals being publicly nice and supportive of others or for more introverted individuals being supportive privately when no one is looking (i.e., showing them being nice to/protective of strangers).
That doesn't really work for this character. They are rather anti-social, shy, and don't like to be around large groups of unfamiliar people, and while they do like to spend time with people they care about they often prefer to go off on their own than try to socialize. Therefore, they have fewer opportunities to display kindness/empathy or are less likely to be present when a situation does arise that would demonstrate this trait (i.e., assisting someone who needs help). Additionally, because of their social awkwardness and general obliviousness to social cues they might not notice if something is wrong or someone needs help even if they would care if they did notice, or have enough confidence to act.
The character does display kindness to the people they are close to, demonstrating through their actions that they care about the well-being of their friends and family, show concern over the emotional state of others, and in some cases come off as desperate to please them. However, I've noticed this doesn't seem to make them come off as notably kind compared to anyone else, especially when in public their demeanor often comes across as icy and when their buttons are pressed they can be nasty and brutal (which is intended to be a character flaw), which seem to "cancel out" any otherwise empathetic behavior. They come across as "mostly nasty with a kind side" rather than "mostly kind with an occasional nasty side they don't like to acknowledge". The issue is that while "kind", "shy", and "socially awkward/oblivious" aren't contradictory personality traits, they latter two can easily mask the first in a way that makes it hard for the reader to pick up on.
The only other way I have noticed authors display a character's kindness is to show the character is kind to animals. While it fits with this character's personality, it also feels like a rather brazenly unsubtle attempt at gaining audience sympathy. | [
{
"answer_id": 50704,
"author": "JonStonecash",
"author_id": 23701,
"author_profile": "https://writers.stackexchange.com/users/23701",
"pm_score": 3,
"selected": true,
"text": "Perhaps the way to show kindness is to perform hidden acts of goodness. He gets up early to shovel the snow for... | 2020/04/05 | [
"https://writers.stackexchange.com/questions/50703",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43118/"
] |
50,719 | I'm making a book and want to illustrate it too. So do I have to copyright them seperatly or can I copyright them all together? And if I make them into a series do I need to copyright each book separately? | [
{
"answer_id": 50704,
"author": "JonStonecash",
"author_id": 23701,
"author_profile": "https://writers.stackexchange.com/users/23701",
"pm_score": 3,
"selected": true,
"text": "Perhaps the way to show kindness is to perform hidden acts of goodness. He gets up early to shovel the snow for... | 2020/04/08 | [
"https://writers.stackexchange.com/questions/50719",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43790/"
] |
50,723 | I am describing an experiment for a scientific paper. In this experiment, I use a very well-known technique which I briefly describe, similar to the following variant (#1):
>
> In this experiment, we measured the performance of our machine using the well-known method B.
>
>
> B took the machine, turned it around three times, did some weird things with it, and then came up with a performance number.
>
>
>
Should the second sentence be in the past or present tense?
Since it should be a general description of how method B works and not what it actually did, it sounds strange to me that it is in past tense but a native speaker (but not a technical writer) told me to do so.
I would prefer this variant (#2):
>
> In this experiment, we measured the performance of our machine using the well-known method B.
>
>
> B takes the machine, turns it around three times, does some weird things with it, and then comes up with a performance number.
>
>
>
What variant makes more sense? | [
{
"answer_id": 50791,
"author": "RoobyDooby",
"author_id": 14512,
"author_profile": "https://writers.stackexchange.com/users/14512",
"pm_score": -1,
"selected": false,
"text": "The first sentence refers to the experiment in the past tense (\"measured\"). For the sake of consistency, the ... | 2020/04/08 | [
"https://writers.stackexchange.com/questions/50723",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43745/"
] |
50,736 | I have to present my book(s) to a Christian publisher and I was wondering, how would I go about censoring adult language or should I just put a warning label on the title page? | [
{
"answer_id": 50738,
"author": "S. Mitchell",
"author_id": 13409,
"author_profile": "https://writers.stackexchange.com/users/13409",
"pm_score": 5,
"selected": true,
"text": "You can do what authors like Robert Swindells do and substitute non-swear words for swear words. This way the di... | 2020/04/10 | [
"https://writers.stackexchange.com/questions/50736",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/-1/"
] |
50,741 | I'm trying to describe a ring of broken, destroyed spacecraft. I want to use `wreckage ring` or `ring of wreckage` or `ring of wreckages`.
`Wreckages` is an interesting word that I'm confused about.
I've seen it used in books and publications. Online dictionaries specify `wreckage` as both singular and plural, however oxford dictionary specify `wreckages` as plural.
[](https://i.stack.imgur.com/mdcep.jpg).
Can anyone shed some light on this and what would sound best to use? | [
{
"answer_id": 50742,
"author": "JonStonecash",
"author_id": 23701,
"author_profile": "https://writers.stackexchange.com/users/23701",
"pm_score": 1,
"selected": false,
"text": "It would depend upon what you are trying to describe. If the spacecrafts are the remnants of a fleet, then I w... | 2020/04/10 | [
"https://writers.stackexchange.com/questions/50741",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/39167/"
] |
50,751 | “He said, ‘spend a week more on the west wall and do your job diligently,’ and that at the end of the week, 'he would see,'” Yarpres said.
I did research <https://www.grammarbook.com/punctuation/quotes.asp> but I'm not understanding the concepts there, it's a bit confusing.
Any help would be appreciated. | [
{
"answer_id": 50769,
"author": "JonStonecash",
"author_id": 23701,
"author_profile": "https://writers.stackexchange.com/users/23701",
"pm_score": 2,
"selected": false,
"text": "What you have written is technically correct according to the rules that I understand and follow. However, I w... | 2020/04/11 | [
"https://writers.stackexchange.com/questions/50751",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43737/"
] |
50,764 | Sometimes I read a **first person story** in past tense and I'm amazed at how much the main character is able to remember **in such detail about events that happen decades ago**. I know some books uses tools to explain the level of accuracy in the narration like a diary, letters, documents, video or audio recordings.
But some fiction books in first person never tells you anything about this, **why is that?** Am I meant to assume something or leave it a mystery? | [
{
"answer_id": 50769,
"author": "JonStonecash",
"author_id": 23701,
"author_profile": "https://writers.stackexchange.com/users/23701",
"pm_score": 2,
"selected": false,
"text": "What you have written is technically correct according to the rules that I understand and follow. However, I w... | 2020/04/11 | [
"https://writers.stackexchange.com/questions/50764",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43844/"
] |
50,776 | This might be a silly question, I apologize if it's off-topic.
---
I've noticed that audiences and critics typically deeply dislike the majority of works of art that I like the most. Occasionally they may enjoy the work overall, but they still hate the specific elements that I consider the most compelling.
(By "elements" I mean anything like story ideas, worldbuilding, how a story is structured, how a sequel adds to a story or world, how characters are developed, how complex a plot is, how plot twists are foreshadowed and presented, how genres are blended, etc.)
As a consumer of works of art, I'm fine with my tastes and I don't need them validated. But as a creative person and aspiring writer, I'm a bit concerned. Do I stand a chance of succeeding as a published/professional author if my idea of a great story is (consistently) most people's idea of a terrible story? | [
{
"answer_id": 50778,
"author": "JonStonecash",
"author_id": 23701,
"author_profile": "https://writers.stackexchange.com/users/23701",
"pm_score": 2,
"selected": false,
"text": "The key question is, why do you write?\n\nIf you write for the pleasure of writing, for the art of expression,... | 2020/04/13 | [
"https://writers.stackexchange.com/questions/50776",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/4689/"
] |
50,777 | So, I wanted to spice up the MC in one of my stories by... making him into a stereotypical SJW. The catch is supposed to be why and when he's acting that way. I won't go into any detail because this question isn't about politics, so let's just say he has his reasons and is ultimately a good person, once everything is revealed.
Due to the nature of the story, which mimics Saturday morning cartoons to a degree, I can't go into detail about politics, only the characters' own struggle. Making the main character out of a stereotype is a quick and easy way to piss off virtually everyone. And I think explaining or elaborating on it with an apolitical reason (the classical ["then let me be evil!"](https://tvtropes.org/pmwiki/pmwiki.php/Main/ThenLetMeBeEvil)) will only make things worse.
Also, the MC is a walking contradiction in some areas, he's a communist, but lives in a mansion. Sure, after his parents' disappearance, he's almost completely alone in it, except for his grandmother who everyone mistakes for a servant and it's also revealed relatively early that the place was built to accommodate numerous monsters and in the slice-of-life episodes we get to see that every resident has to help with the chores to the best of their ability.
Still, the underlying mechanism seems weak to me. While some parts of his ideology are genuine. Stuff like the Taty Marb stalker shrine and ANTIFA motifs are more of a way for him to get back at the society that ostracized and made fun of him for no reason. However, those parts obviously just worsen his situation and alienate him from even more people.
**How can I make this main character work without the political aspect coming off as clickbaity?** | [
{
"answer_id": 50804,
"author": "Sciborg",
"author_id": 33846,
"author_profile": "https://writers.stackexchange.com/users/33846",
"pm_score": 2,
"selected": false,
"text": "**You can't do what you're asking.**\n\nThere's not really a way to make a character like this *without* it coming ... | 2020/04/13 | [
"https://writers.stackexchange.com/questions/50777",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/25507/"
] |
50,781 | Right before the climax of my scifi fantasy novel, there's a big reveal about who the bad guys really are and how they influenced the magic system -- *throughout history*. This reveal will be the much wanted answer to a big mystery arc, so I want to maximize reader payoff.
So the reveal:
1) Is *not happening in real time*, i.e. walking in on the bad guys to see them in action.
2) Also includes technical information about the magic as it relates to the bad guys.
The plot involves the MC finding a lost civilization who guards this secret. One of those people will deliver some of the information. In addition, I can use a hologram room to show other parts of the history.
My main concern is that delivering the reveal through something other than live action might diminish it.
What other ways to dramatize the delivery of historical reveals can I use to maximize excitement/payoff?
*Clarification*: this question does not ask how to build a plot twist, or how to write the mystery leading up to the reveal. The mystery already exists; there is foreshadowing, there is buildup, bits of info are seeded. This question regards narrative techniques I can use for delivering the reveal other than dialogue, holograms/recordings (i.e. *showing* but not in real time), and exposition, if any other exist. | [
{
"answer_id": 50787,
"author": "JonStonecash",
"author_id": 23701,
"author_profile": "https://writers.stackexchange.com/users/23701",
"pm_score": 2,
"selected": false,
"text": "In my experience, the simpler the reveal, the more shocking it is. A lot of technical detail at that point in ... | 2020/04/13 | [
"https://writers.stackexchange.com/questions/50781",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43578/"
] |
50,795 | I've been planning out the same story and revising it over and over since I was a child (that makes it 10 years now) and finally after *so* long I'm happy enough with it to consider finally writing the final script and I really, really like it. This is a darling that I don't want to slay, and this is definitely a story I want to tell to the world.
However, being a neophyte, I've decided to first write another story and release that into the wild, so I have a bit more experience under my belt and I know what I'm doing a bit more when I get back to the first story. (The medium is (web)comic, so I'm doing this to improve my art/composition/dialogue/etc. skills first, so writing another story first is a bit of a must.)
I have a few ideas that I really like and am passionate about, but when I develop them further they always turn into a weird variation of the first story (either in a different setting or with different characters) and even with a completely different setup it always seems that the characters' most plausible choice or the circumstances seem to push the plot in that specific direction. Is there any way to mitigate this dilemma?
(For anyone wondering, the story has a whole "anti-hero rises up and takes over the world by effectively manipulating their surroundings" sort of plot to it. I'm pretty sure there are other ways for the hero to rise up against whatever they want to fix in the problem in their life, but it always seems to end up to be *this*) | [
{
"answer_id": 50796,
"author": "raddevus",
"author_id": 10723,
"author_profile": "https://writers.stackexchange.com/users/10723",
"pm_score": 0,
"selected": false,
"text": "**Write the Story Out Completely**\n\nIt may be that you need to write the story and get it down and look at it on... | 2020/04/15 | [
"https://writers.stackexchange.com/questions/50795",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43881/"
] |
50,806 | I am writing a screenplay for a TV show in which a character who will become important later in the series has a line of dialogue in the opening scene. However, he is offscreen and will not be physically introduced for another episode or two. For the dialogue, is it okay if I have him named as “VOICE” or “MAN” even though he is a main character? Or should I use his name for the dialogue, but not give a description in a slug line until he is visually introduced? It is inferred in the scene that the person he is talking to has no idea who he is, and for the benefit of the script reader, I would prefer to keep the mystery intact. Thank you! | [
{
"answer_id": 50807,
"author": "SuperAl",
"author_id": 42404,
"author_profile": "https://writers.stackexchange.com/users/42404",
"pm_score": -1,
"selected": false,
"text": "If you want the reader to make the connection between the unannounced character's remark and his further introduct... | 2020/04/15 | [
"https://writers.stackexchange.com/questions/50806",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43888/"
] |
50,813 | How long should character bios be for a TV treatment? 2-3 sentences? Or 2-3 paragraphs? | [
{
"answer_id": 50807,
"author": "SuperAl",
"author_id": 42404,
"author_profile": "https://writers.stackexchange.com/users/42404",
"pm_score": -1,
"selected": false,
"text": "If you want the reader to make the connection between the unannounced character's remark and his further introduct... | 2020/04/16 | [
"https://writers.stackexchange.com/questions/50813",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43893/"
] |
50,826 | I couldn't decide what type of dragon I wanted to write, so I decided to do a *Rise of Skywalker* and now my dragon is all the dragons. This isn't actually hard to achieve. The key idea is a character that shows a different facet of themselves, depending on how people interact with them.
In practice, that means my dragon, despite his above-average-human knowledge and wit, is also an impulsive brat. Consequently, the cliché draconic greed is replaced by an "awesome" borderline-unhealthy attachment to various objects, which might or might not include people (like close friends) and places.
Now that opens up a whole new treasure trove of potential conflict. For instance, you might steal a dirty book from the dragon's lair, then the dragon chases you for miles just to get his favorite book back. In the end, everyone's left dumbfounded that the dragon threw such a tantrum over something like that.
This behavior is tiresome and after a point, scary for a parent when their child does it. Just imagine how utterly terrifying it becomes when the one having a fit is a living flamethrower with the claws of a cassowary and the jaws of a Nile crocodile. It might actually be enough for some to conclude that it's for the best to get rid of (murder) the dragon before he burns down a whole village because the book thief lives there.
At the same time, this allows for endearing character moments as well, maybe the dragon never reads the ending of that book. because that's when the "good" knight slays the "evil" dragon. Instead, he made up his own ending where the cornered dragon tricks the knight and escapes, then later finds a far-away place with other dragons and lives there happily ever after. Or maybe, the dragon really likes to play games like catch and doesn't get mad if he loses (unless you really rub it in).
Thirdly, the villains could use the dragon's impulsiveness to manipulate him (either sending him into a blind rage or blackmailing him), which is pretty good for leveraging the long-term battle.
This all sounds fine and everything. However, I'm afraid the dragon might actually come off as irritating and detestable for the reader, despite the endearing moments. Either because the negative outweighs them or because they actually piss the reader off even more. **Compared to my other characters, the dragon is more responsible for his action, which is the point, but I don't want to go overboard and make him unsympathetic, how can I do that?** | [
{
"answer_id": 50827,
"author": "Jedediah",
"author_id": 33711,
"author_profile": "https://writers.stackexchange.com/users/33711",
"pm_score": 3,
"selected": false,
"text": "**The difference between childish and unsympathetic is defined by where the tantrum stops, and why**\n\nSmall chil... | 2020/04/17 | [
"https://writers.stackexchange.com/questions/50826",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/25507/"
] |
50,829 | I have a deep-seated hatred for certain tropes and a special way to deal with them. Now, this is a loooong demonstration.
---
I have serpent men in my setting. Note though, the correct term is lizard people, as they clearly resemble monitors, several of which are mildly venomous, but not everyone knows that.
Just like in a certain book, these serpent men are capable of disguising themselves as humans and are infiltrating society.
They aren't present in large numbers, as that makes secrecy more difficult. Probably the most notable one is a serpent woman (?), disguised as a healer, complete with a fake identity.
Though she isn't a member of the royal court because no one trusts their own court, especially not the advisor, her services are frequently requested. Since most coups weren't spearheaded by general practitioners, no one expects the strange, introverted lady to be planning anything against them.
She also has a flame-bladed dagger. The undulating edge is mostly decorative with no occult meaning, but it helps a little when slicing up vegetables and dissipating vibrations from a sword strike.
Her job isn't to tear apart human society from within and top to bottom, but to report on the military activities of humans to the city of Nogu.
Oh yes, the city. While most of the serpent men's cities are abandoned, some aren't. Though they look ancient and mysterious to barbarians, many parts of these cities are nearly identical to modern ones, with the general tendencies favoring the concentric zone and the sector models. There are cheap, mass-produced apartments, the railways and sewage systems.
While the cult of an Old One, Yig, still exists, his worshipers are rather casual and it's more of a habit than true dedication (the same can be said about Yig's dedication to their followers). This also goes for ancient tech that was used to build their cities. Nogu is growing more and more disillusioned with the current leader's policies, believing him and his operations to recover even more lost tech to be nothing but chasing ghosts.
This bleak outlook isn't surprising, they can barely maintain their own city and it's only a matter of time before humans find out about Nogu's existence. Serpent men are low in numbers and their defenses rely completely on decoys and a few blast doors, neither of which would stop an army.
---
I think you can see it in the text that most parts of this description are framed as a hated trope, the refutation of that trope and the reasoning for it.
* Instead of diabolical cults, there are only a handful of cultural references and idioms.
* Instead of a scary eldritch abomination, you have a lazy Old One that doesn't really reward nor punish you.
* Instead of having an entire political system overtaken by reptilians,
you have a herbalist who spies on important figures and reports back to HQ.
* Instead of an underground civilization that's plotting to take over the world, you have a crumbling city that struggles to maintain itself.
* Instead of mindless cannon fodder, you have scared and bitter people (as in not just males, but females and younglings too) who, while not exactly friendly towards humans, do care about each other and are,
indeed, capable of feeling love and compassion.
See, while this usually turns out good, it somehow feels weird.
Also, there's Luku Htyqalnef from *The Last Jedi*.
When viewed through my lens, a lot of his aspects are understandable.
* Who wouldn't be bitter after everything they worked for was piped
into /dev/null by J.J Abrams?
* Who wouldn't be scared of making the same mistake twice?
* Who could go through their life (except for Diavolo) without ever failing or finding themselves overpowered? It's stupid and was stupid to think a single person could turn the tide of a war.
Now there are two things I'm afraid will happen to me that happened to TLJ and what caused the "Did it subvert your expectations?!" conundrum.
1. People think my rage over chainmail bikinis and always-chaotic-evil races is a bit of an overreaction because it's just a story.
IT'S NOT AN OVERREACTION! THEY'RE HERETIC, DETESTABLE, MORALLY REPREHENSIBLE CONCEPTS! IF I WAS DYING OF TERMINAL FORTNITE AND THANOS SAID TO ME HE'D MAKE ONE OF MY WISHES COME TRUE, IT'D BE TO ERASE THESE TROPES FROM THE CULTURAL HIVEMIND.
2. Dragging all my hated tropes through the mud could create anomalies. For instance, if being a scantly clad amazon in my setting is a surefire way of getting killed (either by a flamethrower or Eliot Rodger), why'd there be any? The problem is these anomalies aren't always that apparent.
**When writing things like background stories, lore or character bios out of spite, what should I avoid?** | [
{
"answer_id": 50851,
"author": "Ville Niemi",
"author_id": 11425,
"author_profile": "https://writers.stackexchange.com/users/11425",
"pm_score": 1,
"selected": false,
"text": "**Confusing the real-world and in story reason.**\n\nIn the real world these things exist because you hate the ... | 2020/04/17 | [
"https://writers.stackexchange.com/questions/50829",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/25507/"
] |
50,836 | This is my first novel..i am stuck at two characters who already have a liking for each other and have exchanged numbers.
I have all the conversations they have, how they open up telling each other stories of their life. But this has to be when they meet personally.
How do i take this to where he asks her maybe out for coffee. (Coffee again isnt the perfect setting..A walk in garden maybe.. i am working on it. ) Without rushing through the story to it..As they have just exchanged numbers.. plus not putting the boring hello and all those stuff still getting to the point where he asks or meets her out.
Also stuck at what should be there first text or words exchange.
The characters are very simple and not agressive and not very outgoing as well as the flow of the story is very subtle.
. Thanks for your help. Please forgive my not so upto the mark of English. | [
{
"answer_id": 50844,
"author": "JonStonecash",
"author_id": 23701,
"author_profile": "https://writers.stackexchange.com/users/23701",
"pm_score": 0,
"selected": false,
"text": "Write up a dozen or more possibilities. They do not have to be realistic. In fact, the more outrageous they ar... | 2020/04/18 | [
"https://writers.stackexchange.com/questions/50836",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43927/"
] |
50,843 | So, the rather controversial concepts of objective criticism and objectively bad art are a fairly hot topic, even more so nowadays.
Leaping past the massive flame wars around certain movies, this is the first time I felt like I had no clue to go on and reach a conclusion.
On one hand, there's the whole "Beauty is in the eye of the beholder" thing, but it's also true that the large majority of people hated X movie. It's also true that many of the reasons people hated X movie were also present in the previous well-received movies as well. So, most people are dumb and can't be relied on for thoughtful criticism.
Now, judging art by an objective metric is possible. However, I'm unsure if said objective metric itself is good or bad. For instance, let's assume a group of theoretical and spherical stereotype romance readers and theoretical stereotype objective critics in a perfect vacuum. The romance readers' objective metrics reward a lot of bonus points for empty female protagonists that they can identify with. The most vocal advocates of objective criticism would consider that group's opinion to be bad, and the group itself to be a bunch of degenerates or at least tasteless plebians. However, there's no real reason why that couldn't go the other way. Similarly, saying that more people adhere to X objective metric doesn't make that metric inherently good for the same reason nazis weren't good.
Another example, *Jaws* sits at a solid 90% on Rotten Tomatoes, whereas *The Last Jedi* is 48%. However, *The Last Jedi* only hurt the image of fictional characters, whereas [*Jaws* more-or-less singlehandedly started a damaging stereotype about sharks that had consequences in real life](https://www.youtube.com/watch?v=CqykkfT8NlM). By my objective metrics that's not just bad but an outright war crime that Steven Spielberg should answer for.
**So, it's a tie for me, but that can't be the case, can it? Could objective criticism exist, and if yes, is it something that you as a writer should take into consideration?** | [
{
"answer_id": 50845,
"author": "JonStonecash",
"author_id": 23701,
"author_profile": "https://writers.stackexchange.com/users/23701",
"pm_score": 0,
"selected": false,
"text": "I would think that it is obvious that one could define a set of criteria for written work and objectively chec... | 2020/04/18 | [
"https://writers.stackexchange.com/questions/50843",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/25507/"
] |
50,853 | In my book, Earth is gone and are all the counties and a majority of the population and cultures. A small population is left and they make a home on another planet. Now, just under 200 years later, they're a space-faring group but they like to name their starships ( both colony and military) after old places of historical meaning from their former homeworld.
Like ICP/USS Pompeii.
or ICP/USS Rome
or ICP/USS Herculaneum
or even ICP/USS Titanic.
Now, my question is will this be seen as honoring the lost town for the readers or should this be seen as using famous names for the sake of it?
I was going for the first one, because it could be that the remaining humans keeping their history alive using their ships, naming it after aspects of their culture to keep it going. | [
{
"answer_id": 50866,
"author": "Laren Spear",
"author_id": 43964,
"author_profile": "https://writers.stackexchange.com/users/43964",
"pm_score": 2,
"selected": false,
"text": "Why would it be in bad taste? Allusions to real-world events have been a part of literature for as long as lite... | 2020/04/19 | [
"https://writers.stackexchange.com/questions/50853",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/36004/"
] |
50,858 | When I write non-scientific articles or other kind of texts online, I often use italic to emphasize the names of non-fictional human beings when they are important and appear for the first time in the text. Is this considered a good/alright use of italics or is it weird/wrong?
Example: "The island of Pintada was first seen by the Spanish captain *Croncapzo Lertavduz* during a trip between Cuba and Porto.
I think it's tiresome to use it every time someone new is introduced but I tend to do it for the most important people in a story. I have read plenty of advice on use with tiles (books, etc), for emphasis, foreign language, etc, but could not find any best practice for people names. | [
{
"answer_id": 50859,
"author": "Jason Bassford",
"author_id": 30561,
"author_profile": "https://writers.stackexchange.com/users/30561",
"pm_score": 3,
"selected": true,
"text": "It's unusual, but not entirely without some kind of precedent.\n\nFor instance, as expressed by [Zotn August]... | 2020/04/19 | [
"https://writers.stackexchange.com/questions/50858",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43948/"
] |
50,864 | I am currently writing a fiction novel. I have about 5 finished chapters. But, since English is not my native language, (it's actually my fourth language) I feel the urgent necessity of sending my work to someone abroad to give me some feedback (a native speaker, not that I don't trust him). However, I fear that my ideas might be copied or stolen from me if I keep sending more chapters.
What should I do? | [
{
"answer_id": 50859,
"author": "Jason Bassford",
"author_id": 30561,
"author_profile": "https://writers.stackexchange.com/users/30561",
"pm_score": 3,
"selected": true,
"text": "It's unusual, but not entirely without some kind of precedent.\n\nFor instance, as expressed by [Zotn August]... | 2020/04/20 | [
"https://writers.stackexchange.com/questions/50864",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/35870/"
] |
50,874 | I wanted to write a gay kiss at the close end of my third book. I already started their chemistry with each other on the first and more in the second now it's leading up to the kiss. I have a ton of readers and some already ship my characters together. Now if I write it I might be afraid people won't approve it. I'm scared, I planned this pairing from the start and if I can't show them who they are maybe I can't show myself...
Help! | [
{
"answer_id": 50875,
"author": "TitaniumTurtle",
"author_id": 34253,
"author_profile": "https://writers.stackexchange.com/users/34253",
"pm_score": 3,
"selected": false,
"text": "I feel like advice that was given to me about writing characters of the opposite gender also applies here. *... | 2020/04/21 | [
"https://writers.stackexchange.com/questions/50874",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43947/"
] |
50,886 | I am going to write a book about myself. I will be working on this for awhile and it most likely will not be published physically. But I want to say the name of my middle school/high school. I want to know if I can do that. I actually went so I think it is but I would like a professional opinion first. | [
{
"answer_id": 50889,
"author": "Joe Egerszegi",
"author_id": 43957,
"author_profile": "https://writers.stackexchange.com/users/43957",
"pm_score": 0,
"selected": false,
"text": "I would have thought that an autobiographical work didn't lend itself to this manner of editorialization, but... | 2020/04/22 | [
"https://writers.stackexchange.com/questions/50886",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43995/"
] |
50,892 | I like to read short stories, novels, documentaries etc.
I used to write a diary as well.
I am interested in beginning to write a short story or some other form of creative writing. But I struggle to think about how I can start this. After reading other writers I am amazed at how they look at their surroundings, the way their imagination approaches things. But I narrate my surroundings in my writing as I describe them during conversation to others. There's no creativity, I also find no interest to read my writing anymore. Can't I do something now for developing this, making my writings into a creative short story? | [
{
"answer_id": 50898,
"author": "storbror",
"author_id": 22977,
"author_profile": "https://writers.stackexchange.com/users/22977",
"pm_score": 3,
"selected": false,
"text": "I suspect that your descriptive skills are not necessarily the issue, but that you simply do not know **WHAT** is ... | 2020/04/24 | [
"https://writers.stackexchange.com/questions/50892",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/44008/"
] |
50,893 | Let me elaborate. In things such as Game of Thrones and Lord of the Rings (so, high fantasy), fictional continents are quite often the setting. I don't recall ever seeing this in Science Fiction. My world *does* include both modern technology (cars, computers) as well as futuristic technology such as advanced aircrafts and exo-suits. The reason for wanting to set it on my own fictional continent is so I can create a unique world including a huge technologically advanced city to the North (technology is scarce in the rest of this world), deadly forests, and creatures that live in the wilds all on one land mass. I considered setting the story in a post-apocalyptic version of an existing country, but I don't think the world I envisioned would be quite as dynamic if I had to build it within a 'template'. | [
{
"answer_id": 50899,
"author": "motosubatsu",
"author_id": 24645,
"author_profile": "https://writers.stackexchange.com/users/24645",
"pm_score": 3,
"selected": false,
"text": "There's nothing wrong with doing so, and I can think of several examples where a sci-fi setting has been humans... | 2020/04/24 | [
"https://writers.stackexchange.com/questions/50893",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/24000/"
] |
50,906 | I will start by saying this isn’t a romance, but has your classic love triangle within the plot
The problem is, within my writing, I got in too deep with my first two characters love story, and now he just seems too perfect
I’m at the point now where I’m introducing the second guy and, quite honestly, I can’t write him. I can’t see my audience picturing him and her together the same way as I’ve written the initial couple. It’s not natural, it doesn’t make sense, but the whole plot line is that he helps her escape, and she only goes with him because she falls for him. How can she fall for him when I can’t fall for him myself, as the writer?
How do I write him in a different way to the initial Male, but good enough that the audience root for him, and not the initial companion?
Thanks | [
{
"answer_id": 50909,
"author": "AmaiKotori",
"author_id": 42084,
"author_profile": "https://writers.stackexchange.com/users/42084",
"pm_score": 3,
"selected": false,
"text": "First, consider how much you actually *want* the love triangle element. If you've managed to write a compelling,... | 2020/04/24 | [
"https://writers.stackexchange.com/questions/50906",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/-1/"
] |
50,912 | One of my previous questions got [an interesting answer](https://writing.stackexchange.com/a/50908/25507). And posed an interesting problem. Namely, It will be difficult to make a parody of something without understanding why people like it. That's a fair point. **Though Springtime for Hitler and anything made by Qel Bsoezq with nazis in it flies in the face of that.**
However, you just simply can't make me like Jaws or any other movie featuring killer versions of IRL animals. Those movies are stupid and should burn in hell. Similarly, you can't make me like Lovecraft. He was a low-key racist who wrote about things he barely understood (non-euclidian geometry just means you're drawing on a globe instead of a sheet of paper) and almost all his characters are so weak-willed, they can't go five pages without snapping in the most ludicrous, over-the-top fashion possible.
There's also the question of time. I like Hokuto no Ken, but it's 190-episodes long, so I couldn't get into it. Skimming through stuff I actually dislike is going to feel like a waste of time, especially if it's "pulp".
**How am I supposed to understand why people like Jaws, Lovecraft, and pulp so much? They're garbage as far as I'm concerned and I haven't seen any prominent figure try to understand why someone would like something they themselves didn't.**
---
Update
------
So far, not knowing what I despise first-hand wasn't a problem. You see, when I had the image of a "noble savage" barbarian who seems to be repulsed by the thought of wearing proper clothing, I didn't make the parody of that character, I made a counterpart.
>
> Kaz is a draconian (humanoid dragon, basically) born to a fairly
> wealthy family. Not wanting to follow in the steps of his parents, he
> set out to be a soldier instead of a knight. Thanks to his physique
> and skills that came from previous combat training with his siblings,
> he had a successful career and saw battle a few times, never a pitched
> battle though.
>
>
> Eventually, he joined the militia/garrison of his home city to serve
> there and help train recruits. Kaz, despite his stern look, is a
> rational and level-headed person. While his status can make people
> around him uneasy, he also has trouble initiating small talks.
>
>
> His family took Kaz's decision with mixed feelings, though they now
> came to terms with it.
>
>
>
You see, it's not the stereotype barbarian with the tropes sUbVErtEd but still having the same premise, rather, Kaz is the opposite of that, a city-dweller with a loving family who is a capable fighter but not a glory hog.
This works because Kaz can exist without the barbarian stereotype I was opposing. **The problem arises when I have to make the actual barbarians, where my biases will be apparent, biases I want to hammer out without wasting an eternity on reading *Weird Tales* an asking people what they like about the stories within them.** | [
{
"answer_id": 50919,
"author": "Patroclus",
"author_id": 12739,
"author_profile": "https://writers.stackexchange.com/users/12739",
"pm_score": 3,
"selected": false,
"text": "I think it's all down to having an open mind and strengthening your grasp of what it means to be a storyteller. \... | 2020/04/25 | [
"https://writers.stackexchange.com/questions/50912",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/25507/"
] |
50,915 | In writing a musical I have 3 primary and 7 minor characters - some of whom can be also used in the ensemble. There are four scenes in the two act play in which an ensemble consisting of, at most at this point ,13 people, appears ( have already cut three) They are not a chorus..I have named the people in the ensemble and given them individual characteristics , although they are really townspeople and such. They create a tone for the scenes and the background of the pace and situation. I have been told by a playwright( of straight dramas) that this is far too many people unless I am aiming for Broadway...that no regional theatre will take it. Is this true? And should I take it into consideration? To lessen the number of people (and their individualities) would take away from the atmosphere and function of the scenes. Do I keep on track or lessen the impact and depth of the scenes by eliminating part of the ensemble? | [
{
"answer_id": 50922,
"author": "S. Mitchell",
"author_id": 13409,
"author_profile": "https://writers.stackexchange.com/users/13409",
"pm_score": 1,
"selected": false,
"text": "It's a straight question of economics. Thirteen actors plus musicians (you don't say what sort of music) is exp... | 2020/04/25 | [
"https://writers.stackexchange.com/questions/50915",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/44025/"
] |
50,923 | I've thought for years that I was terrible at writing dialogue and any "dialogue" I've written would make the likes of Guojgu Lecav or Ehren Kruger burst out in gut-busting laughter at how awful it is. But, as of now, I've learnt that my dialogue writing skills are worse than I thought and I'm flat-out abysmal at creating dialogue for characters, which comes as out bland and soulless, nothing like a person would say or is stolen from more talented writers.
To understand how bad of a writer I am, read this little gem:
>
> “B-but that’s impossible! I’ve never even heard of the Picts being dark-skinned or having Scythian tats!”
>
>
> “Funny, because I also do not recall *Érainn* to have such a lovely skin tone like yours. And If I were a guessing girl, I would say that you have *Gréagach* blood in you.”
>
>
> “How? How did you know that I was half-Irish?”
>
>
> “You are an odd creature. A man who refuses to acknowledge his warrior heritage, the *Érainn* blood running through your veins.”
>
>
> “But that doesn’t answer my question. How’d you figure out that I’m half-Irish and half-Greek?”
>
>
> “Well, you have that crimson hair common amongst your kind, and I have heard wondrous tales of a wise, noble people living far beyond Alba with mud-brown skin who call themselves *Gréagach*. Does that answer your question?”
>
>
>
I've done everything trick in the book to improve my non-existent skills, and nothing's worked. Eavesdropping on everyday conversation doesn't do it for me thanks to my deep-seated hatred for small talk, and I don't see the point of it because it's boring, unstimulating and random while adding nothing to my already extensive pool of knowledge. Reading screenplays isn't good for much except looking for lines to steal. Novelising scenes from fictional works of a visual nature to me is tantamount to laziness and writing lousy Wattpad-tier fanfiction.
I want to be able to make poignant, memorable lines that my readers won't ever forget rather than incomprehensible drivel or vapid, "witty" quips akin to those written by Joss Whedon.
**How could I possibly improve my dialogue-writing skills?** | [
{
"answer_id": 50922,
"author": "S. Mitchell",
"author_id": 13409,
"author_profile": "https://writers.stackexchange.com/users/13409",
"pm_score": 1,
"selected": false,
"text": "It's a straight question of economics. Thirteen actors plus musicians (you don't say what sort of music) is exp... | 2020/04/26 | [
"https://writers.stackexchange.com/questions/50923",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/-1/"
] |
50,926 | How can I "show" that my character is saying "yes" as a respond from a question?
The only thing that comes to my mind is
>
> Ciwe moves his head, confirming that he is okay.
>
>
>
I think this is not good since I'm telling and not showing.
I also would like to say that English is not my native language so if you find another problem please don't go hard on me. | [
{
"answer_id": 50927,
"author": "Arcanist Lupus",
"author_id": 27311,
"author_profile": "https://writers.stackexchange.com/users/27311",
"pm_score": 5,
"selected": true,
"text": "The word you are looking for is \"nod\".\n\n> \n> Mike **nods** his head, confirming that he was okay.\n> \n>... | 2020/04/27 | [
"https://writers.stackexchange.com/questions/50926",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/42557/"
] |
50,937 | Following my sword and sorcery questions, I remembered I actually used to watch one and actually enjoyed it, despite its hamminess, Xebe: Warrior Princess. Now, I'm not gonna say I was wrong about noble savages (because I can't make mistakes, ya know) as she is more of a Miry Kae, plus she's usually the one who tries to go the pacifist route with her recurring enemy being Oros, the OG god of war.
However, Xebe (the show) also suffers because of that.
1. The show tries to apply modern values to age and mythology that clearly operated under a different one. To be fair, these modern values are mostly exclusive for Xebe.
2. Poor Hades can't catch a break. Also, there was that time when Xebe began killing off gods to pave the path for the "god of love"... thank Dawkins I didn't see those episodes.
Now, I can actually argue in other works using greek myth that those two issues are the same. If you saw [Lindsay Ellis' Loose Canon episode on Hades](https://youtu.be/kmcV90cya1Y) you know what I'm talking about. Hades is often confused/conflated with Satan because he resides in the underworld and as you know, Christianity really loves to infect everything and integrate them into its hive mind of stupid until the original thing is lost, so much for the "War on Christmas".
I want to avoid that as much as possible. The problem is with keeping the "original" myth and also abiding by my own [Hays Code](https://en.wikipedia.org/wiki/Motion_Picture_Production_Code).
I want to preserve the myth because it feels disingenuous not to. I mean, greek myth is filled with sex, infidelity, rape, bestiality... and gays. Taking all of that away kills its "essence". However, most of that stuff is violating my Hays code, assuming they go unpunished.
Here's a more concrete example of my problem:
I had a story idea in mind. You are familiar with the story of the Minotaur, right?
Basically, there was this Minos guy and blah blah, Poseidon gave Minos a white bull he had to sacrifice to him, blah blah, he didn't so Poseidon made his wife have ..... with that white bull, from which born the minotaur.
Now, according to what I read, the minotaur wasn't immediately thrown into the labyrinth only after it began having an appetite for human flesh. All I have to add is making Poseidon responsible for that change in diet and boom:
Suddenly, Asterius becomes much more sympathetic and tragic. However, this also means that he is now protected under my code, which strictly prohibits punishing characters for things beyond their control. The curse of a god, done clearly to punish a relative of the individual, most definitely counts. So, Theseus now can't kill him, a rather big part of the story thrown into the bin, IMHO.
This will happen almost every time I change small things, yet for that brief initial part, it feels like poetry. I mean, the minotaur's original name, Asterius, means star; isn't that cute? Wouldn't it make more sense for him to be, you know, a tragic character?
I understand that myths also have cultural backgrounds and are still stories in the end. **When I talk about identity, I mean the story itself and its context, but not the underlying symbolism. So, in the case of this one, Athens having to pay tributes to Crete and the ending of that is present as a part of the story, not what the story symbolizes.**
**This is an "I want to eat the cake but still have it" type of problem. Changes to the myths are inevitable if I want to follow through with my code, but I still want to keep as much of their "identity" as possible. How should I do that?** | [
{
"answer_id": 50946,
"author": "Chronocidal",
"author_id": 29940,
"author_profile": "https://writers.stackexchange.com/users/29940",
"pm_score": 2,
"selected": false,
"text": "You appear to be only reading half the subtext of the myth of the minotaur:\n\nAs the Minotaur grew, he became ... | 2020/04/27 | [
"https://writers.stackexchange.com/questions/50937",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/25507/"
] |
50,947 | As a way to show exposition of my characters background,In a dream sequence could I use third person POV? Just wondering if this could work, as Im an aspiring writer and i'm looking for a way to make my book unique. | [
{
"answer_id": 50960,
"author": "Patroclus",
"author_id": 12739,
"author_profile": "https://writers.stackexchange.com/users/12739",
"pm_score": 2,
"selected": false,
"text": "It wouldn't make it unique. Now that self-publishing has really taken off, people get really wild with POVs... \n... | 2020/04/28 | [
"https://writers.stackexchange.com/questions/50947",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/44060/"
] |
50,949 | Is it wrong to have a preposition at the end of sentence?
In the context of writing a statement of purpose, I cannot of any substitute for the following sentence:
>
> I have made many small and big improvements in my life that as a
> Middle Eastern female, I’m very proud of.
>
>
>
I know I can say:
>
> I'm proud of many small and big changes that I made in my life.
>
>
>
But it doesn't have the feeling that I like. Is there any other way to say it correctly with the same strong feeling? | [
{
"answer_id": 50951,
"author": "Mindwin Remember Monica",
"author_id": 19292,
"author_profile": "https://writers.stackexchange.com/users/19292",
"pm_score": 2,
"selected": false,
"text": "No, it is not wrong. However, in a cover letter, you should strive for clarity and maybe objectivit... | 2020/04/28 | [
"https://writers.stackexchange.com/questions/50949",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/16321/"
] |
50,955 | I have been writing a story that for a long time I considered to be an urban fantasy, with supernatural elements in a recognizably modern setting. However, while I thought I was writing a rather straightforward urban fantasy story, it’s become apparent that the story seems to share a lot of elements with a paranormal romance as well.
The story revolves around two star-crossed lovers from different supernatural factions, so it is difficult to say whether the A plot is the romance, the feud between the factions, or both. The romantic and non-romantic plot points are directly tied together. The individual story arcs are primarily driven by non-romantic conflict but the overarching meta-plot is definitely the story of the relationship between the two characters and to a lesser degree their relationships with family and friends. There are also a number of individual character arcs and subplots that have nothing to do with romance, but focus on things like platonic friendships and mentorhood.
The romance is not treated as a steamy, wish-fulfillment fantasy (contra something like *Twilight*), but is used to further the non-romantic themes of the novel about the human condition. There is no erotica, and cutesy romantic gestures that you would expect in a romance novel are virtually absent unless they further character development.
I've heard it said if you can remove the romance from the story and it still works it's not a paranormal romance. However, while the romance is key to the story, there's very little of the typical "they love me, they love me not" and "supernatural phenomena merely exist to get the characters to shack up" typical of paranormal romance.
I suppose a comparable analogy would be *The Incredibles* compared to your standard superhero fare. In contrast to most entries in their respective genre, the relationship between the two main characters is treated as a key part of the plot rather than a subplot, and there’s always this undercurrent of the events the characters are going through being akin to the trials and tribulations of a normal relationship albeit with a fantastic twist. E.g., a superhero going through a midlife crisis, or a heroine torn between "career versus family" except "career" in this case is being a werewolf alpha.
As a result, **I have no idea if what I am writing is a very good urban fantasy story, or a very bad paranormal romance.** I understand that categorizing works of fiction into genres is often arbitrary even at the best of times. I also understand that the boundary between paranormal romance and urban fantasy is hard to define and arbitrary even compared to most literary genres. As other people have said before “the only difference between the two is if a story has a half-naked *woman* on the cover, it is urban fantasy; if it is a half-naked *man*, it is paranormal romance”. But I'm concerned if it falls too far on the "paranormal romance" side it won't be of interest to the target audience and I need to course-correct. | [
{
"answer_id": 61024,
"author": "NofP",
"author_id": 28528,
"author_profile": "https://writers.stackexchange.com/users/28528",
"pm_score": 1,
"selected": false,
"text": "'Romeo and Juleah' disguised as urban fantasy is still 'Romeo and Juleah'.\n\nNote that in Romeo and Juleah there are ... | 2020/04/28 | [
"https://writers.stackexchange.com/questions/50955",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/43118/"
] |
50,961 | I notice that a lot of beautiful literature contains sentences that are not grammatically correct. Here are some examples:
>
> “Still, there are times I am bewildered by each mile I have traveled, each meal I have eaten, each person I have known, each room in which I have slept." [This lacks an "and" at the end of a list.]
>
>
>
>
> “And so we beat on, boats against the current, borne back ceaselessly into the past.” ["We" is probably referring to people so there should be a "like" before boats.]
>
>
>
>
> “There is a loneliness that can be rocked. Arms crossed, knees drawn up, holding, holding on, this motion, unlike a ship's, smooths and contains the rocker. It's an inside kind — wrapped tight like skin. Then there is the loneliness that roams. No rocking can hold it down. It is alive. On its own. A dry and spreading thing that makes the sound of one's own feet going seem to come from a far-off place.” [There are incomplete sentences.]
>
>
>
In the examples, if the authors had added the grammatically required words and commas, it probably wouldn't have sounded as beautiful. So, what is allowed in academic papers such as research papers and essays? For example, in high school essays, are you allowed to write incomplete sentences that make the sentences and words flow smoother? | [
{
"answer_id": 50963,
"author": "JonStonecash",
"author_id": 23701,
"author_profile": "https://writers.stackexchange.com/users/23701",
"pm_score": 5,
"selected": false,
"text": "An important purpose of writing is to organize thoughts and **communicate** them to an audience. You would not... | 2020/04/29 | [
"https://writers.stackexchange.com/questions/50961",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/44077/"
] |
50,965 | I'm writing a book, and I feel like it would be right to include a sex scene.
Both characters are male, and both virgins as well, and I've never written a sex scene nor had sex.
I don't want it to be too detailed, and I prefer no talking, just describing how it was.
I can handle a post-sex scene, I just really need some help. How do I describe the first time? What adjectives should I use? | [
{
"answer_id": 51091,
"author": "rolfedh",
"author_id": 15838,
"author_profile": "https://writers.stackexchange.com/users/15838",
"pm_score": 2,
"selected": false,
"text": "Don't worry about seeming foolish, just write a draft of the scene anyway. Share the draft with acquaintances who h... | 2020/04/29 | [
"https://writers.stackexchange.com/questions/50965",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/44067/"
] |
50,971 | The 9th circle, aka, the deepest and worst part of Hell, in Panpe's inferno is dedicated to traitors (from the least severe to the worst):
1. Treason against one's **kin**.
2. Treason against one's **home** (as in city-state/kingdom/etc...).
3. Treason against one's **guest(s)**.
4. Treason against one's **benefactor(s)**.
I had a character, more precisely, a pair of characters who were spying on a king and his court. One of them was a robot, called Barii, with the ability to assume the form of any human; the other one was a female lizardfolk, supervising the operation.
---
The example story (will be referred to later in the question)
-------------------------------------------------------------
While it was careful and passive surveillance for the most part, after an unsuccessful attempt to replace the king, they're forced to run. This is where M. comes in.
M. is a typical amnesiac protagonist, who takes pity on the two and aids their escape. During this, they have an opportunity to get to know each other better. The lizardfolk was told that humans hated her kind, plus she grew up in a bunker-turned-city, which was a constant reminder of that. It comes as a surprise to her that M. doesn't treat her or Barii any differently than his comrades.
Anyway, after realizing that M.'s seemingly useless ability, The Hermit, can be used to interact with ancient technology, she forges a plan and takes him to another ancient bunker city under the pretense that maybe they find clues about his lost memories there. So, they go around the place, activating ancient technology with The Hermit.
Eventually, M. finds out the place was designed to be used as a weapon, and his actions brought it to an almost-usable state. Barii and the lizardfolk realize that and knock him out. The two place him into an elevator, going straight to the surface. They delay the last steps until he's out of the maximum-security zone.
Now, when they bring the weapon online, they don't intend to use it, it's a bargaining chip. They don't know that the weapon was set to fire on the closest human target (a peaceful city, in this case) the moment it is brought online, nor that the lizardfolk's root access to the system is actually a false root that doesn't have the privilege to overwrite the weapon's orders.
---
I'll stop here for now.
-----------------------
Obviously, this lizardfolk is supposed to be a less-heroic but still good person, whose actions could believably cause someone (the king) to try and murder her even though she's unarmed and reluctant to fight. I'd say I did a fairly good job with that. The problem, as you guessed, is what she's doing to M.
M. risks a lot to help her, has no prejudice towards her kind, and happily assists her with what she asks. Even when he finds out the truth, he wants to talk her down.
So, using that person's trauma/disadvantage to trick him into doing your bidding is not nice and according to Panpe Alighieri, is literally the worst sin a mortal can commit.
That's good for a villain, bad for a sympathetic character.
**So, how can you keep a character sympathetic after they committed the treason of the highest order (i.e: they betrayed the one(s) who cared for them)?** | [
{
"answer_id": 60867,
"author": "DWKraus",
"author_id": 46563,
"author_profile": "https://writers.stackexchange.com/users/46563",
"pm_score": 0,
"selected": false,
"text": "Second Chances:\n===============\n\nYour character can be redeemed to the audience. Many horrible characters are ac... | 2020/04/29 | [
"https://writers.stackexchange.com/questions/50971",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/25507/"
] |
50,975 | My job requires formal writing, however after self-review, I found that my writing does not have enough substance. This was confirmed as feedback from higher-ups implied that I use too many phrasal verbs or have a tendency to over-write things using unnecessarily lofty words.
I was recommended to read this essay by Orwell:
<https://www.orwell.ru/library/essays/politics/english/e_polit>
Basically, he cautions against the abuse of:
* Metaphors
* Operators/verbal false limbs
* Pretentious diction
* Meaningless words
And advises to:
* Never use a metaphor, simile, or other figure of speech which you are
used to seeing in print.
* Never use a long word where a short one will do.
* If it is possible to cut a word out, always cut it out.
* Never use the passive where you can use the active.
* Never use a foreign phrase, a scientific word, or a jargon word if
you can think of an everyday English equivalent.
* Break any of these rules sooner than say anything outright barbarous.
Though the piece was overly political for my taste, but I still found the notion that "The whole tendency of modern prose is away from concreteness" very compelling. Here is a great example of what he means by "concrete":
>
> I returned and saw under the sun, that the race is not to the swift,
> nor the battle to the strong, neither yet bread to the wise, nor yet
> riches to men of understanding, nor yet favor to men of skill; but
> time and chance happeneth to them all.
>
>
>
Modern English version:
>
> Objective considerations of contemporary phenomena compel the
> conclusion that success or failure in competitive activities exhibits
> no tendency to be commensurate with innate capacity, but that a
> considerable element of the unpredictable must invariably be taken
> into account.
>
>
>
In a few months time, after making a conscious effort to elevate my "concreteness," I feel more confident with my writing and I received positive feedback. I think about prose so differently now. It amazes me that such a short piece made such a large impact on my writing.
Question
--------
Can someone recommend a commercially available writing guide / book that has a similar framework? | [
{
"answer_id": 50985,
"author": "S. Mitchell",
"author_id": 13409,
"author_profile": "https://writers.stackexchange.com/users/13409",
"pm_score": 3,
"selected": true,
"text": "'On Writing Well' by William Zinsser has some good advice about improving your writing. 'Elements of Style' is d... | 2020/04/30 | [
"https://writers.stackexchange.com/questions/50975",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/44079/"
] |
50,981 | So I'm writing a story during the course of which my main, first-person-POV character learns another language, one used heavily in her surrounding. This generally works, but I regularly get stuck on dialogue for other characters when my narrator can understand some but not all of what they're saying. I have two main approaches I use, but both seem to have real disadvantages. Any ideas?
*Approach 1: Paraphrasing*
>
> A stream of words followed. My best guess was that she was talking about how much she liked the food, but given that I could only understand one word in four I couldn't dismiss the possibility that she was explaining how her day had been, complaining about the noisy neighbours, or proposing marriage.
>
>
> I sighed and intoned the words that had been among the first things I learned in class. "Slower, please?"
>
>
>
or
>
> "And I thought you-" The rest of the sentence was obscured by grammar (this language made talking about things one didn't believe true unnecessarily complicated, in my opinion) but I thought I got the gist. He'd thought I was an honest person, and now he was deeply disappointed in me.
>
>
>
This is great for getting across how the character is actually experiencing things, but the fact that there's almost zero direct speech has (in my opinion) a distancing effect that makes this hard to manage for more than a few paragraphs here and there.
*Approach 2: Italicised foreign words*
>
> "She can't make it, she told me earlier today. She has *Verpflichtungen*-"
>
>
> "-obligations," Horah translated,
>
>
> "-in town which will *beschäftigen* her until late. She wants to meet up another time," Endkee added while I was trying to disentangle the unfamiliar word.
>
>
>
This is a lot easier to keep up for a whole conversation, but I worry that the readers will get annoyed at the onslaught of italicised foreign words. It's also not really a great depiction of what she's experiencing, because it's hard to show things like her only grasping bits and pieces of what's going on, guessing to fill in blanks, or trying to untangle unfamiliar grammar - in this particular example, I think my character is coming off as more fluent than she actually is.
(Note that although I used German for the sake of the example, the actual story uses a conlang so at least there will be no readers who know the language to worry about!)
Does anyone know of any other good ways of showing native speaker dialogue through a POV character with an imperfect grasp of the language? Or am I stuck combining these two approaches and trying to avoid scenes with lengthy foreign-language conversations until she's a bit more fluent?
EDIT: To clarify:
My problem is *not* that I want to include foreign words but still have the readers understand the dialogue. In fact, I'd happily do away with the foreign words entirely.
My problem is that I want to show a piecemeal, patchworky understanding of what is said - putting a percentage on this is difficult but let's call it 40-60% with outliers in either direction. I can manage this well for short scenes via the paraphrase demonstrated above, but I'm not happy with its effect in longer conversations. | [
{
"answer_id": 50986,
"author": "Bharathvaj",
"author_id": 44048,
"author_profile": "https://writers.stackexchange.com/users/44048",
"pm_score": 2,
"selected": false,
"text": "I understand both of your approaches. Write your story in a way that the readers travel along with the main char... | 2020/04/30 | [
"https://writers.stackexchange.com/questions/50981",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/42901/"
] |
50,990 | So, here's a scene idea from yours truly:
The giant ~~eagle~~ brown falcon, Horus, is fighting against a necromancer that can stop time. So the necromancer obviously stops time, pulls out an MG 42, and shoots at Horus for 10 seconds. Using the average rate of fire, that's 200 rounds shot.
Time resumes and the bullets rip through Horus' shield.
For a few frames, we can see his back. The shoulder and the upper-left side are gone in a mist of blood. The wing is completely severed, the crop, stomach, and some of the air sacs got ripped out as well. Parts the ribcage can be seen too.
Then we cut to the other characters, seeing Horus fall out of the sky from afar, but the impact is obscured by a line of buildings.
---
In animation or live-action, this is a way of shocking the audience without being excessively gory. This can be accomplished because the visuals allow you to tell a lot in a few frames, making the death seem even more shocking and brutal.
However, text progresses at a snail's pace. Even after trimming and tidying the prose, you don't have to pause the book at the right frame to catch it. You have to choose between detail (the extent of the damage) and speed (the characters seeing what just happened). Sure, we're still flying half a ship, but it feels weaker for the reasons I stated above.
**How can you convey suddenness when a lot is happening at once?** | [
{
"answer_id": 50993,
"author": "Ankit",
"author_id": 44049,
"author_profile": "https://writers.stackexchange.com/users/44049",
"pm_score": 0,
"selected": false,
"text": "I may not be able to give a good answer because your question is missing a lot of context, and I cannot comment as I ... | 2020/04/30 | [
"https://writers.stackexchange.com/questions/50990",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/25507/"
] |
50,996 | My organization produces technical reports and bases their style on Associated Press (AP) style. In one of these reports, I have a list like so:
Topics with permission:
* Publish — 3 topics
* Subscribe — 2 topics
* Receive — 2 topics
* AddPermission — 5 topics
My editor is telling me I must spell out the numbers, IE "three topics", instead of "3 topics" but looking at the style guide, I am not so sure. The Associated Press Stylebook 2019 states the following, with my emphasis added in bold:
numerals
In general, spell out one through nine: The Yankees finished second. He had nine months to go.
Use figures for 10 or above and whenever preceding a unit of measure or referring to ages of people, animals, events or things. **Also in all tabular matter, and in statistical and sequential forms.**
This seems to me to be tabular matter, but the style book doesn't really define what that is. When do I spell out numbers in bulleted lists? Is it true that I must spell it out for all numbers less than ten? What if the list includes some numbers greater than 10, and some between zero and 10. | [
{
"answer_id": 50993,
"author": "Ankit",
"author_id": 44049,
"author_profile": "https://writers.stackexchange.com/users/44049",
"pm_score": 0,
"selected": false,
"text": "I may not be able to give a good answer because your question is missing a lot of context, and I cannot comment as I ... | 2020/05/01 | [
"https://writers.stackexchange.com/questions/50996",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/44093/"
] |
51,018 | Violence and gore are an integral part of my story. However, I can usually keep the focus on the emotions, and the reactions, rather than the description of the injury.
My problem comes with one of my villains, Best Dad. His entire persona is as a performance artist in gore. You can't take that away from him; I don't want to diminish his image! Best Dad is supposed to be creepy, repulsive, and irredeemable to the point where his own teammates are scared of him.
Yet, I don't want to disgust the audience too much. How do I strike this balance? | [
{
"answer_id": 51041,
"author": "Chris Sunami",
"author_id": 10479,
"author_profile": "https://writers.stackexchange.com/users/10479",
"pm_score": 2,
"selected": false,
"text": "**Nothing should be in your writing unless it serves the larger story**. It doesn't matter how cool a concept ... | 2020/05/03 | [
"https://writers.stackexchange.com/questions/51018",
"https://writers.stackexchange.com",
"https://writers.stackexchange.com/users/25507/"
] |