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How does one write a misanthropic character likeable? Let's say the character has over the years grown to dislike humans because he had many negative experiences with them, and is disappointed in humanity itself. How does one write such a character without making him too edgy or unlikeable? <Q> If the structure of your story does not have the time for (or does not aesthetically permit) that the misanthrope in question have an extensive backstory in which their lost hope, shattered dreams, and gradual metamorphosis into misanthrope is conveyed, then a good alternative might be to show how their misanthropy informs their expertise, and allows them to deal with the world in a more realistic and savvy way than other characters, who are are still weighed down by their sentimentality towards humanity. <S> Dr. House comes to mind. <S> His misanthropy often makes him a better doctor, at the expense of his human relationships. <S> It is hyperbole and might not translate into real life, but mental instability in exchange for heightened technical ability is a very old trope. <S> It can be downplayed, played straight, or exaggerated. <S> Downplayed: <S> An unsociable, grumpy man is a good car mechanic due to his extensive time alone. <S> Exaggerated: A sociopath's complete detachment from humanity, lack of empathy, and talent for manipulating the emotions of others make him the perfect political candidate. <A> You'll find a lot of good answers here: <S> How do you make a story succeed in spite of an unsympathetic main character? <S> On top of that: If your character is a misanthrope out of disappointment, that's your hook. <S> Disappointment means that the person once had hope. <S> So you play on that past hope. <S> Was he an optimist? <S> A starry-eyed idealist? <S> A romantic? <S> A decent man who was taken advantage of? <S> An ordinary bloke in an abusive relationship? <S> A middle manager keeping his head down who watched fellow citizens vote a tyrant into power? <S> Figure out what broke his heart. <S> Find a way to convey that backstory to your audience (not immediately — somewhere between one-third and two-thirds of the way). <S> A cabbagehead, newbie, or Watson are some traditional vehicles for this kind of exposition; you can also do it via a third character or a flashback. <S> Additionally, if he can retain some of that hope, even in flashes (think the grouch with a heart of gold), the reader can see that the misanthropy was situational, or earned, and that there's some good underneath which just needs uncovering. <A> A likeable misanthropic character is not necessarily a misanthrope at heart: he only needs to act like one. <S> He is misunderstood. <S> Perhaps just different. <S> They could even be a good character who turned sour as a reaction to a bad break, and you could add a growth/redemption arc, in which to play this reveal. <S> All these characters are perceived as misanthropic, but their story arcs reveals that, in truth, they are not.
| Often what makes a misanthropic character likable to the audience is their sympathetic behavior or expertise in worldly matters. Some great misanthrope characters in TV and literature are: House MD, Sherlock Holmes, Ebenezer Scrooge.
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Pay rate and terms for writing book series under contract I have a guy that runs a very successful punk/oi! record label in LA. He has asked me if I'd be interested in writing a series of books for him. 60,000 to 80,000 words per book in the series. I am new to the lengthy writing game... His offer is to pay $600 per book and %25 profit share after recoup. With contract and all. Is this a terrible deal... or? <Q> It's unclear if these books are ebook only, print only or both. <S> If it's an ebook, then that's not a bad deal at all (especially if you are interested in the topic). <S> The 600 is basically an advance. <S> You said "recoup. <S> " I understand that to mean that if revenues exceed 600, then you are entitled to 25% of earnings. <S> With ebooks, very few people are being paid advances. <S> I would insist on half up front, half upon completion (at minimum). <S> With printed versions, it's likely to take a significant while to earn your advance. <S> (My guess is you won't get any). <S> 3 pieces of advice: 1)Check to see how much in advertising and illustrations that the record label can include when recouping expenses. <S> 2)Specify <S> a date at which rights can revert back to you or the right to publish becomes nonexclusive. <S> (10 years?) <S> My guess is that the label is not as much interested in making a killing from publishing but simply providing helpful publicity for musicians; in that case, the label might not have a problem with nonexclusive use later on. <S> 3)Avoid a multibook contract if possible. <S> You don't know how much of a time commitment it will be or whether it will sell splendidly. <A> If this were a conventional commercial publisher that was in position to distribute the books widely it would be a very good deal. <S> If it is a purely speculative venture by someone with no previous experience of the book trade, then it is probably not such a good deal. <S> The deal between a publisher and a writers is based on what each brings to the table, and, like everything else, on scarcity. <S> If the publisher is a major publishing house with an established reputation and distribution network, they bring a lot more to the deal than if it is someone outside the industry deciding to dabble for the first time. <S> In other words, the experienced commercial publisher can sell a whole lot more books than the newcomer, which means they are offering the writer a much bigger paycheck, even if they are offering a lower cut on a per book basis. <S> What you as a writer should care about are: <S> How much am I getting paid overall. <S> How much exposure am I getting (both because we write to be read and because the more exposure we get, the more books we sell). <S> Of course, it also depends on who else they can get to do the writing for them. <S> There are many willing writers but few able ones. <S> If they think you are one of the able ones, they should be willing to pay for that. <S> (And if they are not, it means they don't think you are one of the able ones, or they can't tell the difference (or you are not one of the able ones).) <S> Deals for the willing but not able are too low to live on, but people will still snap them up, so you just have to decide what you are willing to settle for. <A> Breaking into publishing is very hard. <S> Frankly, if you are a new writer, ANY deal that gives you money and exposure is probably a good deal. <S> Like any business deal, the key questions are: Is it worth it TO ME. <S> If you absolutely hate writing and you agonize over every second of doing it, maybe it wouldn't be worth it if someone offered you tens of thousands. <S> But if you love to write and routinely post things you have written on the Internet for free, getting paid even a small amount for what you like to do anyway is a good deal. <S> Can I get a better deal elsewhere? <S> I'm sure J K Rowling or Harold Robbins would not take this deal, because they can make millions selling their writing elsewhere. <S> But can you? <S> Probably not. <S> I've fairly often heard newbie writers question some deal they've been offered, saying it's less than what they've heard of other writers being offered for similar work. <S> This is irrelevant. <S> Is anyone offering YOU more for this work?
| A publisher who can't demonstrate the ability to sell a lot of books and get you a lot of exposure is therefore bringing less to the table and so needs to offer you a bigger cut of the sales they do make for it to constitute a good deal. If anything there should be provisions for both parties to end the contract.
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How to show time lapse between two chapters? I have a ten year time lapse between an event in my first chapter and the second chapter. The first chapter has an event that takes place during the protagonist's teenage years that lays the foundation for the rest of the story, and the second chapter continues ten years after the event that took place in the first chapter. How can I let the readers know almost immediately that it is ten years later in the second chapter? Some additional points: The protagonist does not appear in the second chapter as other characters are introduced in this one, so the solution from This similar question may not work. There was no place to really mention the date in the first chapter so having a date mentioned in the second chapter may not work out either. <Q> There's no biggie on this. <S> Stories do it all the time. <S> That's part of what the chapter separation is for--setting a new scene. <A> As Adam Miller says, the most direct way is to begin the chapter by saying "Ten years later", or by giving a date. <S> Lots of books do this. <S> Some stories try to communicate passage of time indirectly. <S> For example, if chapter one is all about Bill's experiences in elementary school, and then you begin chapter two by saying, "Bill arrived early at his job at the factory that day", the reader should get the idea that bill is now an adult. <S> Or if chapter one is set in a time when people ride horses and chapter two begins, "The cars raced up and down the highway", the reader will get the idea that we are now in an age of automobiles. <S> But frankly, I think just telling the reader how much time has passed is usually the better solution. <S> It's clear and simple and it takes maybe one sentence. <S> Like in my "Bill arrived early at his job" example, depending on the nature of the story, a reader might be forgiven for thinking that the story has turned to the subject of child labor, or that this is some other person also named Bill, etc. <S> I've read many stories where I've gotten confused by the narrative at some point, and I think to myself, presumably the author knew what he had in mind was happening here, but he has failed to communicate that clearly to the reader. <A> Showing. <S> Telling. <S> "I can't believe I'm turning twenty-five!" <S> Showing. <S> Looking though an old photo album, its pages yellowing with age. <S> Telling. <S> "Ten years later" really is an option (it's not that uncommon to see). <S> Showing. <S> Slamming alarm, and talking to spouse about their anniversary coming up, or their child's birthday. <S> Be sure to positively identify the person from the previous chapter, or it might feel disjointed. <S> Telling. <S> "Years fly by", "Oh, but that was years ago now, wasn't it?". <S> Or how about: <S> "Oh, to be young and foolish again," he thought, reminiscing about how different was back then . <S> These days? <S> Life seems to be a balance between paying the bills, and racking up new ones on his credit card. <S> Think about your style of writing, see what fits that shows what you want your readers to pick up.
| If you try to indicate the passage of time indirectly, you may confuse the reader. Sometime in the chapter's first sentence or paragraph, simply state that there has been a time jump, either by stating the difference (10 years later...) or by stating the new date (or both). Have the character look at a calender, while checking for a birthday or scheduling in a meeting.
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Copyright of a book which is out of print I have a question on a book which its last edition was published about 50 years ago and its author died about 47 years ago. Now it is out of print. The last edition of the book I am interested was translated to English (in 1965). I have sent email to its publisher about this book, but I didnt receive any answer. I also searched this book in the publisher's website, but I didnt find it. I also mention that I cant find its translator. I have found the electronif file of the book in a website which allows users to download many books from it illegally (that is without any permission from the actual publishers). My question is: Can I use that illegal electronic file of the book for self study ? I put the information of the book below: Title: Cardinal and Ordinal Numbers Second Edition Revised 1965 Author: Wacław Sierpiński Translated from Polish by: Janina Smólska Publisher: PWN-Polish Scientific Publishers <Q> The copyright on the book (original) expires 70 years from death of the author (per Polish law) - so you're still 22 years short on that. <S> The copyright on the translated version will be a joint copyright of the author and the translator, so the longer of the two period applies; Janina Smólska is polish too, and it seems she died in 2002 <S> so the translation will enter public domain no earlier than in 2072. <S> Until then, you can use excerpts from the book under fair use clauses - e.g. for educational use, in white papers. <S> You certainly can't distribute the book, and the site you got it from does so illegally. <S> Using it "from illegal source" is a grey area. <S> More specifically, per US law (DMCA) it seems like the act of downloading the book (which you did already) is illegal, while using it afterwards is okay. <S> To be on the "clean" side, borrow a copy from a library, to have it on record, and then nobody can complain you copy&paste excerpts from the electronic version as long as you don't brag about it. <A> Whether or not a book is in print has nothing to do with copyright. <S> For example, it's illegal to copy someone else's book, put your name on it as the author, and sell it. <S> Whether the book is in print or not does not change this. <S> So if this website is selling (or giving away) unauthorized copies of books, the fact that this book is out of print doesn't make it any less illegal. <S> As to you using the illegal copy ... <S> But then, the music industry in the US has been going after people who illegally download music with a vengeance. <S> I've seen news reports of a grandmother sued for hundreds of thousands of dollars because her 10 year old grandchild downloaded a song on her computer, etc. <S> Anybody on here know the legalities on that? <A> I can speak only of US copyright law, but the big risk is if you share the file with others. <S> It subjects you to potential statutory fines up to $150,000. <S> You are not sharing the file -- just using it for your own purposes. <S> So I don't believe you are subject to charges of copyright infringement. <S> By the way, the worldcat library catalog shows over 500 copies in libraries worldwide (including several in Houston -- where I live!). <S> That makes it fairly easy to request as interlibrary loan through your library <S> http://www.worldcat.org/title/cardinal-and-ordinal-numbers/oclc/796464 <S> With some out-of-print books, it is not unusual for people to reproduce chapters (or entire contents) on the web. <S> It's not an ideal situation obviously. <S> If you are teacher and xeroxing portions for a class, that might raise additional issues.
| I am not a lawyer, I doubt anyone would prosecute you for reading an illegal copy even if that's a technical violation.
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How to describe a kiss between the protagonists in third person? I'm writing in third person because I want to express the standpoint of both of my characters. Everything's running smoothly except for the part where I want to describe their kiss. I'm in conflict with the idea that in whose POV should I describe the emotion they have during the kiss. These are the possible options I have and also that the problem that I face with those: Option 1: I should stick to describing only one person's emotion. Problem: I want to describe both of their emotions. Period. Option 2: I should write both of their feelings. Problem: How do I do that? Simutaneously describing? I feel like I'm flitting from 'he' to 'she', 'him' to 'her'. I feel disconnected and so will the reader. One passage each? First 'her' feeling and then 'his' feeling? It reads way too long than the time taken to actually kiss. Also it might seem to look like it's being repeated. Shortening it would make it way too small for each. So can you help me in solving my conflict and problems? Can you help me suggest a better way of carrying this out? <Q> I suspect that you don't really want to describe their emotions in the clinical sense. <S> Rather, you want the reader to know how they feel, and to feel how they feel, or at least to feel sympathy for how they feel, at the moment of the kiss. <S> If so, the way you do that is not through what you say in the moment of the kiss. <S> It is how you set it up. <S> Think about how a great romantic kiss is handled in a movie. <S> It does not come out of the blue. <S> It is meticulously set up as the characters go from bickering to flirting to longing so that long before the kiss comes the audience is aching for it, is shouting "shut up and kiss her you fool" at the screen as the hero bumbles through his courtship. <S> Once all that setup work is done, there is no need to describe anybody's emotions. <S> The audience knows exactly what the emotions are, and they feel those emotions too. <S> This kiss is just the trigger, the moment of release, the moment of fulfillment for all the work that has gone before. <S> As a writer, therefore, you never describe important emotions. <S> You create them. <S> You only describe an emotion if it is secondary, if it is not something that you expect the reader to participate in or empathize with -- some piece of business that is necessary to drive the plot but is not of the essence of the story arc. <S> So many of the POV question here really come down to the same thing. <S> A struggle to describe in the moment emotions that should have been set up by careful preparation. <S> They are not really POV problems at all. <S> They are setup problems. <S> Create emotions, don't describe them. <A> Avoid "head-hopping". <S> Pick one of the protagonists, and describe the kiss from their POV. <S> Later, have the other protagonist refer back to the event, and describe their feelings. <A> Describe the outward signs of their emotions instead of telling the reader what is being felt. <S> Modern writers often expand on that rather distant, showing technique by leveraging the supernatural nature of intimacy which grants the couple extraordinary insights into each other's soul. <S> If the passion is transformative, leading one or both to personal revelation and growth, the report from the participating, yet perceiving mate can be extremely insightful, without breaking the third person point of view. <S> We all want to believe that intimacy merges our third-person relationships with others into something approaching the first-person relationship we enjoy with ourselves. <S> Maybe that is true in the real world. <S> That is a question which each brave lover must answer for themselves. <S> But in the world of our writings, that merging can be an absolute truth, and as authors we can use it to bend the point of view boundaries, at least for a scene or two. <A> Apparently, your third person point of view is not omniscient, or you would not face this problem, and if you tried to describe your character's feeling simultaneously, having the previous narration written in third limited/objective, you would have to either switch to omniscient, or head-hop , which would certainly sound unnatural. <S> The first thing that comes to my mind is to write two adjacent scenes, where one ends with one character initiating the kiss (describing all the feelings) and the next starts with the second participant responding to it (all the emotions from a new point of view). <S> I am sure there are other ways to handle this situation, but this is what I would do. <S> It might come through as a repetition <S> but only if their feelings are identical, which is likely not the case, else you would not want to show the kiss from two different points of view. <A> Some good answers. <S> Let me add one more thought: <S> Is it necessary to describe the feelings of both characters? <S> Even aside from Mark Baker's comment that it may not be necessary to describe the feelings of either, even if you want or need to describe the feelings, would one person's point of view be sufficient to get the message across? <S> If their feelings are radically different, then yes, it's necessary. <S> It reminds me of an article I read years ago where a man related how his wife once told him that while they were dating, she once made a comment to him that began, "You know, we've been dating for six months now and ..." <S> And then suddenly she panicked, thinking that he would take this as her pressuring him to make a commitment. <S> When she got home she called her mother to discuss the conversation; she talked about it to all her girlfriends. <S> And so, she wondered years later, did he remember the conversation and what was he thinking? <S> He said he did remember it quite well. <S> And what he was thinking at the time was, "Have we really been dating for six months? <S> Because I'm pretty sure I haven't changed the oil since we started dating. <S> " <S> My point being: If their thoughts are similar, if they've both been waiting anxiously for this moment, etc, then describing the feelings of one of them should be plenty. <S> Also, this is a case where you could likely solve the problem by simply having them each say what they're feeling rather than going inside their heads. <S> " <S> Oh George, I've been waiting so long for this moment," she said. <S> "All this time I thought you weren't interested," he replied. <S> Etc.
| The author is able to report each character's inner state by describing what their mate senses through the sudden intimacy. Only if they're seriously different do you need to describe both. The representation of emotions from a third person point of view is usually done be describing the outward expressions of the emotion.
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Should each book in the series be a similar length? A very short question. I'm writing a trilogy. Book 1 was 88,000 words, but book 2 is probably only going to be 75,000 words. That's over 10,000 words less. Should I find a way to make it longer? Is there anything to gain by making each book in a series a similar length? Is 70-75,000 words okay for length? Too short compared to the first? <Q> Make it as long as the story demands - worst case scenario is if it's too big, it can be split into parts (e.g. A Song of Ice and Fire). <S> There are numerous examples of series with varying book length. <S> Raymond E Feists Riftwar is <S> a good start - Magician is a substantial book by itself, the following two (Silverthorn and A Darkness at Sethanon) noticeably less. <S> Wiki puts the page count for that trilogy as follows: <S> Magician: 545 <S> Silverthorn: 352 Darkness at Sethanon: 425 <S> Plus there are the likes of Harry Potter or Obernewtyn <S> etc where the first books are smaller <S> then the following ones. <S> The length should be determined by the story. <A> Your example: 88k vs 75k. <S> Those are already very similar word-counts. <S> A reader will most likely not tell the difference when reading them. <S> My example: <S> Alternate history / Historical Fiction. <S> Part 1 will just be the intro that summarizes real history up to the point where alternate history begins. <S> Part 1 exists to ground the story in context and familiarize my audience with a particular nation's culture (and history!) <S> so that future decisions and plot will make sense. <S> Anyway, Part 1 will probably be 10k words or less which will prolly be 3 times shorter than any other Parts, maybe even 5 times or more. <S> But it makes sense to divide the Parts this way and there is no way you would force yourself to extend the intro just for the sake of matching a future Part, which is prolly a more plot-filled Part. <S> (10k words is still a pretty long "intro" ofc.) <S> But in my case it will work because the intro is sort of like a story all its own taking a relatively straight ascent to the climax where a major character gets shot. <S> Then Part 2 begins. <A> Commercially, there are certain limits determined by salability and risk. <S> A thin book may not be perceived by the reader as value for money and so may not sell. <S> A fat book costs more to produce and so represents a bigger risk for the publisher. <S> So publishers generally want books to fall between the Scylla of unsalability and the Charybdis of risk. <S> Exactly where that is for new authors in a particular genre at any given time is something you probably need to research with an agent of publisher. <S> If you prove you have an audience willing to snap up a few hundred thousand copies, then both salability and risk issue are substantially reduced and you have a wider range of length to play with. <S> So the answer to you question about your second book really comes down to how well your first book sells. <A> Similar is a loose word, and you should treat it as such. <S> Your second part is 85% of the first, and that's more than adequately similar. <S> If the size difference is more than half <S> /double then it's a reason to worry and reconsider the structure. <S> This can be done by expanding, moving either the "cut point" or transferring chapters between the two parts. <S> Or potentially adding a bonus; a separate novelette with cameos of the main story, taking at a different time, included as an extra to the short part. <S> Or just merging the two into a single volume. <S> Yeah, considering Mikhail Bulgakov's "Theatrical Novel"'s Part II is about 15 pages long <S> , it would make absolutely no sense splitting it off into a separate volume. <S> But if the size difference is of order of order of 70%, there is absolutely nothing to worry. <A> But they don't have to be identical. <S> I'd say 75,000 and 88,000 are in the same ballpark. <S> If volume 1 was 80,000 words and volume 2 was 5,000 words you should think twice about that. <S> That would almost surely be a totally different type of story. <S> But 75,000 vs 88,000 ... no big deal.
| However, the range between unsalable and too risky changes greatly if you already have a successful book. Artistically, each book should be as long as it needs to be. "Similar", I'd say yes. There is no 'rule', nor anything to really be gained, by making your books match each other in length. No, it doesn't have to be.
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Is it a bad habit to reveal most of the information still at the beginning of the story? This is a habit I have with my stories, and I think it's a bad practice. The story I'm writing isn't of the suspense genre, it's a mix of fantasy and realistic fiction, but a bit of "I wonder what/who/how would that be?", and showing the answers later on is never a bad thing (if well implemented). I think I'm a plotter, and maybe a bit of a pantser too. I write the core of the story, almost always already knowing the ending, and then I write excerpts describing every idea I have as soon as they come to my mind. I only start writing the story at full when I've established enough ideas, so I can let the events happen and the characters act for themselves. However, in my case, this process leaves all details exposed, most of the time right at the beginning (but not in an info-dump). Little to no important information remains to reveal later. In my opinion, a story with no surprises and no suspense and no mystery, that just reveals everything the reader wants to know right away, is just plain boring. But I also don't know if it's just the way I structure it, or if it's simply just bad writing. Should I cover what is uncovered? Should I leave the revelation of some information to later chapters? Should I trick the characters? <Q> Good stories are not created by withholding information from the reader. <S> They are created by constructing a satisfactory story arc, by creating the desire to know what happens next. <S> The desire to know what happens next is not created by withholding information. <S> It is created by engagement with the story. <S> Information creates engagement. <S> Withholding information restricts engagement. <S> Of course, the information has to be relevant and interesting or it will not be engaging, but the only thing you should withhold is what happens next. <A> The main problem with "revealing too much" is info-dumps. <S> Boring the reader early on. <S> The opposite of what you do - dribbling bits of exposition and making the reader tear down the image they built and rebuild it with the new info repeatedly - is a far worse problem. <S> If you feel the rest of the story is getting dry, just migrate some pieces into later sections in the editing phase. <S> It's quite easy when you have all the pieces already laid out, to find where something would fit better - say, transformed from "tell" into "show" as we encounter it live in the story, or your cabbagehead has the good opportunity to ask his questions. <S> Regardless - if you indeed, can provide all the exposition in the beginning of the book without ever boring the reader, I can only congratulate the talent. <A> Should I cover what is uncovered? <S> If your story requires some events or circumstances not to be disclosed until the narrative reaches a certain point, then yes, you should withhold that information at the beginning and reveal it when it is time. <S> The genre does not matter, be it a murder mystery, romance, or a YA <S> coming of age story. <S> Think of the reveal of a certain bit of information as you think of any other event in your story (because it is, just as well as someone getting ill, leaving the town, or getting married), and plot accordingly <S> , that is all there is to it.
| If you can reveal a lot without boring the reader, that's great!
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How to add more details to a novel I have discovered that I am most definitely not a pantser, especially when writing longer pieces. The last couple of times I've tried to write a novel, I didn't feel like I was writing enough. I didn't plan either novel. For my latest attempt, this time a sci-fi novel, I have an outline. A 3000-word outline that goes over the whole plot, chapter by chapter. But I still feel like my story isn't going to be as long as I had hoped. I'm pretty confident that my plot is deep enough, and that I could write a whole novel out of it, maybe 80000 words. But at the start of the 5th chapter, I'm headed more toward half that size. I think the problem is that I'm sticking too much to my outline, and only writing the parts that are crucial to the plot. I know word count isn't everything, but I'm still a bit worried the book won't be what I want it to be when I'm finished. Am I worrying too much about length? What can I do to add details and interesting stuff to my story, other than just the major plot points? <Q> This is very much a Your Mileage <S> May Vary question, and one with no "correct" answer. <S> My advice, however, would be to not worry about it at this stage . <S> Come back to it later, after giving yourself a break, and read through the entire thing, start to finish, and ask yourself - what's missing? <S> What needs more detail? <S> Or better yet, get someone reliable to read through it and take note of their feedback - knowledge and detail that you take for granted because you've created <S> it might not be apparent to the reader. <S> Find out what works, what doesn't work and everything in between. <S> Expand where you need to expand. <S> Alter the journey where you need to do that. <S> Make sure that all the senses are being used in scenes (where relevant). <A> I think it's easier to cut than to add. <S> Therefore, since you seem to be very good at outlining and sticking to your outline (yay!), perhaps you would benefit from adding more branches to your tree, i.e. your outline. <S> So -- see if you can add some subplots, built around side characters. <S> However, there is something to be said for novellas. <A> Finish it. <S> Leave it alone for a while. <S> Go back to it and rework it. <S> You may have to set it aside again, and then compare the original with the edited version. <A> As noted above, there is something to be said for novellas. <S> In fact, there are many famous works that come in at about half the length of what most folks would consider a novel. <S> These are works that, to paraphrase Joseph Conrad, have something to say and proceed to say it. <S> You can find lists of such famous works online. <S> Here is one list: http://listverse.com/2011/12/29/20-brilliant-novellas-you-should-read/ <S> I do not know how those authors developed their works, but my guess is that they worked from an outline. <S> You can always put two novellas into a single book, if you want to make it thicker. <S> I particularly like the "long short stories" (novelettes) of Algernon Blackwood, several of which together make a weighty book. <S> Also have a look at the "incredible shrinking orchestra," a San Francisco ensemble that takes works written for large orchestras, and cuts them down (in orchestration) to a small number of instruments.
| Finish your story, work through your plan and then put it down for a while. A book, a good book, will never be finished after the first draft, no matter how good your planning is. Perhaps it would be helpful to read Middlemarch by George Eliot, and think about all the different characters and subplots that could be going on, and interacting, in the place where your novel takes place.
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How can I make my roleplay sentences more interesting, and less lengthy? For the past four months, I've been writing back and forth with a friend of mine in a form of roleplay. Depending on what's happening, our replies range from a few sentences (usually with dialogue) to a few paragraphs. While I've gotten much better at writing and understanding my main character, I've begun to notice how I always seem to fall back on the same structure, the same verbs, etc. Here are a few examples: He leaned into her touch, watching her with a content smile on his face. He gritted his teeth slightly, pouring the hot water into his cup as he felt his cheeks heating. He raised an eyebrow at her, before slowing his pace a little, moving to step by her side. His breath caught in his throat, and he coughed a little, looking away. He held the door for her, allowing her to pass through, before moving to follow her. Now, what I'm mainly pointing out here is my habit of starting with either my character's name or pronoun, my tendency to use a comma followed by a verb (sometimes multiple times in the same sentence, and my repeated use of phrases or transition words such as "moving to [verb]", "before", "and he", etc. I do often write small notions about what's going on in my character's head, but that's not applicable for every single reply I write. It's been driving me crazy, but I often don't know how else to word/structure certain things. The nature of roleplay already puts me into a position where I can only write things my character is doing, saying, thinking, or feeling -- is this a natural consequence, or could I be doing more? <Q> I don't think length per se is a problem in your examples. <S> It's more the monotony of the repeated three-part structure. <S> Here some ideas for varying the structure. <S> Varying Length and Structure. <S> Like this: She touched him. <S> (implied by your first clause) <S> He leaned into the touch. <S> He watched her. <S> He smiled. <S> The smile was on his face. <S> (a bit silly to break it down this far, I admit) <S> The smile was content. <S> Now combine these individual propositions in as many ways as you can think of: He leaned into her touch. <S> He smiled, content, as he watched her. <S> He leaned into her touch and watched her, content, a smile on his face. <S> He smiled, content, leaning into her touch as he watched her. <S> He smiled, content, leaning into her touch, watching her. <S> ... <S> It's a college book—with college book prices—but it's been around since the dawn of time, so you can probably find a used copy at a nice price. <S> Even Longer Sentences. <S> Another possibility is to actively lengthen your sentences. <S> As I said, the clunkiness in your examples is in the repetitive structure, and not in the length or clarity of the sentences. <S> Each alone is delightful and clear. <S> I'll bet you have the skill to build longer sentence that are just as clear as your examples. <S> Brooks Landon's book Building Great Sentences is a tour de force of ways to build even longer sentences than yours, step by step, each step building on the ones before, building clarity, rhythm, specificity, and energy as you go. <S> Finding Subjects. <S> If your character is observing things around him, you can sometimes use those things as the subjects of sentences: <S> The wind rattled through the windows, chilling him through his thin jerkin. <S> Steam spiraled up from his cup, pirouetted, and melted away into the chilly air. <A> I'll go ahead and do some examples, using yours. <S> He leaned into her touch, watching her with a content smile on his face. <S> rewrite: A content smile spread over his face as he leaned into her touch. <S> rewrited: <S> Contented now, he smiled as he leaned into her touch. <S> He gritted his teeth slightly, pouring the hot water into his cup as he felt his cheeks heating. <S> re <S> write: <S> Pouring the hot water into his cup as he felt his cheeks heating, he gritted his teeth slightly. <S> rewrite: His cheeks warmed, and with a slight grit of his teeth he poured the hot water into the cup. <S> He raised an eyebrow at her, before slowing his pace a little, moving to step by her side. <S> rewrite: With an arch of his brow at her words, he slowed, moving to step by her side. <S> His breath caught in his throat, and he coughed a little, looking away. <S> rewrite: <S> A breath caught in his throat, and he coughed a little, looking away. <S> He held the door for her, allowing her to pass through, before moving to follow her. <S> rewrite: <S> Holding the door, he let her pass before moving to follow her. <S> As you can see, I'm using several forms of variance. <S> putting an ing after the verb and using that to start the sentence starting with with. <S> Starting with A. starting with the state of being. <S> such as contented, footsore, sad, downcast... <S> you get the picture. <S> Starting with "His" which is one of the variances you are already using. <S> Other variances Adverb beginning What I haven't done is any --ly work. <S> You could start "He held the door" with a descriptive such as "Gently, he held the door..." <S> Body part beginning <S> You can also start with a body part: <S> Lip twisted in a smirk, he slowed to meet her. <S> Hands shoved in his pockets, he shivered in the cold. <S> Shoulders slumped, he put an arm around her. <S> location in relation <S> There's also starting with placement-- <S> On his knees... <S> Behind her... <S> Under the marble archway.. <S> Through the door he strode... <A> “When you catch an adjective, kill it. <S> No, I don't mean utterly, but kill most of them--then the rest will be valuable. <S> They weaken when they are close together. <S> They give strength when they are far apart.” <S> ~ <S> Mark Twain <S> 1. <S> Get rid of adjectives . <S> (As much as possible use a specific noun so you don't have to use an adjective also.) <S> Examples : <S> less good: <S> The angry man stood by the tree. <S> better: <S> The man stood by the tree cursing and pounding his fist into his hand. <S> less good <S> : Herman jumped into his sports car and drove away. <S> better: <S> Herman jumped into his Porsche 924 and sped away. <S> 2. <S> Use strong verbs . <S> If you use strong verbs you will be able to write with fewer words that have more impact. <S> Examples replace quickly walked with scurried, scrambled, ran replace angrily grabbed with jerked, yanked, snatched 3. <S> State things clearly and bluntly (use active language instead of passive). <S> Examples <S> passive : <S> > <S> Much fun was had by all. <S> active: <S> > <S> The entire team celebrated their win over their arch rivals. <A> Practice, practice, practice. <S> The more you write, the better you'll get at coming up with new ways to tell stories. <S> It helps to write with others, who can help vary your writing style by injecting some variance into your format. <S> One thing I've done is to have a different writer take on each character in the story, taking turns to add to the narrative — this is loosely described as text-based roleplay, and something I've had great success with for many years. <S> If you want to give this a shot, stop by our roleplaying community and introduce yourself; we've got tons of people you can collaborate with and an entire team of mentors who can help.
| The Writer's Options is a terrific book of exercises for exploring different ways to combine ideas into sentences. First, break down your sentences into individual propositions --teeny, tiny sentences, each of which makes a single claim.
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Where to break paragraphs in dialogue? I'm going through an editing something I wrote and am stuck on where to break paragraphs containing dialogue. I know I need to break when a new character speaks, but I'm not sure where to start a new paragraph when there is description mixed with dialogue. For example: He nodded. "Thank you for returning the bicycle. You see it was my son's and he would love to ride it one more time." 1 My heart pained at this, and I looked up at my dad who seemed unmoved. 2 I looked back at Mr. Houston. 3 "Of course. I apologize I didn't give it back in time. I was scared." Where is the best place to split this paragraph? After the first speaker finishes Between the two non-dialogue sentences Just before the second speaker begins Somewhere else? <Q> Personally, I would break it after Mr. Houston finishes speaking (your first example). <S> This way, the first paragraph is about what Mr. Houston said, and the second paragraph is about the speaker's response, both in his thoughts and out loud. <S> He nodded. <S> "Thank you for returning the bicycle. <S> You see it was my son's <S> and he would love to ride it one more time. <S> " <S> My heart pained at this, and I looked up at my dad, who seemed unmoved. <S> I looked back at Mr. Houston. <S> "Of course. <S> I apologize I didn't give it back in time. <S> I was scared." <S> This is just based on the dialogue you've posted. <S> There might be a better way to do this depending on the rest of the conversation. <S> For example, if you want to build a bit of tension, you might split it into three paragraphs: <S> He nodded. <S> "Thank you for returning the bicycle. <S> You see it was my son's <S> and he would love to ride it one more time. <S> " <S> My heart pained at this, and I looked up at my dad, who seemed unmoved. <S> I looked back at Mr. Houston. <S> "Of course. <S> I apologize I didn't give it back in time. <S> I was scared." <A> I would suggest that unless you have a strong reason to do otherwise, it would best be split like this: He nodded. <S> "Thank you for returning the bicycle. <S> You see it was my son's <S> and he would love to ride it one more time. <S> " <S> My heart pained at this, and I looked up at my dad who seemed unmoved. <S> I looked back at Mr. Houston. <S> "Of course. <S> I apologize I didn't give it back in time. <S> I was scared." <S> As noted by FlyingPiMonster, each concept should get its own paragraph, and in this case one concept is "what he did" and the other is "what I did." <S> Beyond that, though, I think it's worth noting that combining dialog and actions within a single paragraph creates a kind of implied attribution, and that in conversations in particular, a certain back and forth rhythm is naturally expected, so typically each paragraph will alternate between the two speakers. <S> This means combining two different characters' actions into one paragraph, or splitting one character's actions into multiple paragraphs during a conversation, can create confusion as to who's doing what. <S> Both of those factor in here, and that's why this sample works as well as it does despite the lack of any explicit speaker attribution (e.g., "he said"/"I said"), especially with the paragraph break suggested above. <S> In this case it's a simple enough exchange, and the shift in pronouns provides enough clarity, that you could probably get away with tweaking the paragraph breaks for pacing without sacrificing much clarity, if you felt the need, <S> but when in doubt, I've always found one character to one paragraph to be a good rule of thumb. <A> I have seen this sort of thing done in many different ways, in fiction. <S> My informed guess is that it is a matter of current fashion. <S> But in more modern popular fiction, where is seems that the few people who still read books have a limited attention span, the fashion is to break as often as possible. <S> That's essentially the difference between the two versions offered by FlyingPiMonster, above. <S> Aside: Presumably, the first person is a child, in the story. <S> "My heart pained at this" is not really a child's emotion. <S> He might be frightened, or blush, or just look at dad. <A> Of course, this is a fuzzy definition. <S> What makes a thought complete? <S> A sentence, a chapter, or an entire book are all in different senses the expressions of a complete thought. <S> Paragraph is a somewhat fuzzy intermediate division between sentence and chapter, and the trend over the last century has been towards much shorter paragraphs. <S> In short, you have a fair amount of leeway in deciding what constitutes a complete thought and therefore a paragraph. <S> A complete thought, in fiction, can easily include the speech of more than one character. <S> Dan wanted to go to the ice cream parlour <S> but Mary said, "I'm too busy," and Tom said "I just ate," and Jenny said, "I feel sick," so we went to the burger joint instead. <S> The speech and action of one character can together form a complete thought: <S> Mandrake reached into his hat, cried "Alaczam!" <S> in a loud voice, and pulled out a large white rhinoceros. <S> Alternately, the speech and action of a single character can form two different complete thoughts. <S> Sir Roland came up to the castle gate, dismounted, and walked across the drawbridge. <S> "Where is my daughter," he demanded. <S> In short, the existence of dialogue is orthogonal to the question of where to break paragraphs. <S> Simply follow normal paragraphing practice and break on a complete thought.
| You should follow normal paragraph rules, which are, essentially, that a paragraph contains a complete thought. In works from a century ago, when lengthy sentences and paragraphs were more fashionable, the place to break would be where the speaker changes.
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is thematic character naming off putting? Is naming a character to go with a theme or setting of a novel off putting for the reader? Does this pull them out of the story? For example:A character named digit in a cyberpunk future or one named Alaster on a novel about Demons and the Devil? or a whole slew of characters named after animals that live above or below ground in a dystopian future where people underground are at war with people above? Are naming conventions like this too on the nose and make you as a reader roll your eyes? Or do they work for you and make the world/story more believable? thoughts? <Q> You need to make things realistic from an internal logic point of view. <S> I agree with both mwo and Sara Costa, but the point they both miss is immersion. <S> Let me give you an example. <S> Your story is set in Feudal Japan, your main character is Japanese. <S> Her name is Jane Doe. <S> Do you see something wrong with this? <S> The name must make sense in the context of what the parents of the character would want to name their child. <S> It's a wish of sorts for their child. <S> Sometimes it's about letting them stand out; "I'll call you Mahlahkhai! <S> So no one can read your name and confuse you with someone else. <S> " <S> Sometimes they want the child to carry on the family legacy; "John Baptiste VIII, it's a family name. <S> " <S> Sometimes it's cultural; a French boy named Jacques, and his sister Fleur. <S> Sometimes it's time related; Dale being a girl's or boy's name dependant entirely on when the name is given (as an example, because I have a male cousin named Dion, and a female cousin, his sister, named Dale). <S> Figure out what the common thread would be of the time, and either consciously go with it, or consciously go against it. <S> Even if the reasons for either are not readily apparent. <S> As another example, from my own story I'm working on. <S> Fraternal twins, brother and sister, are named Ina Miyo (Ina being the family name, given their mother is Japanese), and James Tessier (Tessier being the family name, given their father is French/Arabic). <S> But these aren't reasons that are readily apparent, they are delved into one step at a time. <S> So what do the fictional parents want this child's name to say about them? <S> That they fit in with their peers? <S> That they were destined to stand out? <S> And to build on Sara Costa's point, their handle name (or nickname) is also very important. <S> That is a conscious choice by someone to see this person in this light. <A> It very much depends on the reader. <S> I roll my eyes every time I see or hear the name Voldemort, but evidently millions of others don't agree with me. <S> I think that kind of naming is something people tire of, but not during the course of a single book, but over the course of their lives. <S> If you're catching people when they are young, or when they are only just moving into your genre then you would meet less resistance. <S> The examples you give (Digit, Alaster) are pretty blunt, and I think would be completely safe only for naive audiences, like children/teens, or where you're easing a cyberpunk/horror subplot into your successful line of historical romance novels. <S> More genre-savvy readers would expect you to either hide your references a little more subtly, or be very self-aware about it. <S> Likewise, naming your entire cast in a rigid scheme might work for a reader whose guard is down for whatever reason, but a more cynical reader could doubt such a system could spontaneously arise in a real world where people tend to enjoy more independent thought. <S> For those readers you would at least have to confront your naming scheme with some convincing social study/worldbuilding. <A> While I agree with @mwo's answer, I'd like to add that an obviously thematic name may work better if it's a nickname rather than one's true name. <S> If Digit is better known to her family as Lisa, for example, and throughout the book there are a few people who call her Lisa (even if only for a few moments of the novel) while everyone else prefers her Digit moniker, then it will be more acceptable even for genre-savvy readers. <S> After all, one thing is to be nicknamed in reference to your skills and interests, another very different is to have one's parents to miraculously choose the name that will fit a baby's future interests. <S> Though it would be funny if one's parents chose 'Digit' only for the child to grow up with an aversion to technology. <S> I often like to choose names based on their meaning, but I rarely choose obvious names. <S> For example, if you would like a character's name to be related to love, Amy would be a more subdued choice than Aimée or Amanda <S> (I'm Portuguese, so Amanda is always much too obvious for me). <A> It rolls off the tongue, so easily and is still clever as it has death in it! <S> However, if the writing didn't support the character name, it would appear awkward and uninterestng... <S> Personally, I think digit is a good name. <S> Its "cute", in the way that it conjures up a character who is sassy, clever..and it rolls off the tongue. <S> I think Charles Dickins had amazing memorable names.
| Another good idea is to keep such thematic names subdued. It's all about immersion. There's so much being revealed about them via their name, for so many reasons. Voldemort is a great name. Characters with memorable names almost always endure in the imaginations of people long after the end of the novel.
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Need help titling my book? So... I'm writing a book that takes place in an alternate world. In this world, there are a bunch of islands that align with the star sign constellations (Ex: Gemini, Sagittarius, etc.) the island Scorpio is known for being criminally populated and basically the "evil" island. On Scorpio lives the notorious Ravana family, who have been training their eldest daughter, Lyrin to become an alchemist where she will one day collect a sacred object from each of the islands in order to cast a spell that will brainwash all the other islands, allowing Scorpio to take control. Once she is of age and her training is complete, she sets off on her mission to find these sacred objects, sailing dangerous seas W full of dangerous creatures and venturing to islands she has never before experienced. During this journey, she meets a boy (another alchemist) from the island of Capricorn. (I'm not sure how they will meet: any ideas on that?) and she enlists his help in finding the objects, never letting him know what she plans to do with them. Eventually they start to fall in love which complicates things. Any title ideas? <Q> Welcome to the site! <S> You are targeting a young audience, so perhaps they should be the source of your title inspiration. <S> Every generation distinguishes itself from its predecessors by applying their own style and slang to our shared language. <S> And you might get some beta readers out of the deal as well. <A> Sounds interesting - Welcome to the site also! <S> If you want I'll help you brainstorm in general - You appear to seek general ideas? <S> " Written in the stars " comes to mind, but I find that quite cliché.. <S> Maybe something that connects the heritage of the family to the theme? <S> " Lyrin and the path of constellations " maybe? <S> Edit: <S> More ideas " <S> Path of Constellations " " Lyrin's Heritage " or <S> Perhaps: " Lyrin Ravana (of Scorpio) " <A> Lyrin's Sign comes to mind. <S> How about <S> Star Crossed?
| You are likely to find a relatively unused and target-age specific title just by have a few minute conversation with a few of your future readers. " Constellation Islands " sounds cool/magical and somewhat spooky to me.
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Choosing between first and third person I'm not an author, but I often wonder if I was to write a novel would it be best in third person or first person? I like being able to delve into the main character's thoughts in first person, but I also like the "all knowing" omniscient view that comes with third person. Is there a style of writing that could allow for both of these aspects? <Q> This is where the narration is given in the third person, using third person pronouns, but is limited to the thoughts and experiences of one character. <S> This style allows you to see inside the head of a character, but it isn't quite as limiting as first person. <S> For example, you can write a scene from the point of view of another character, and if you do it right, it won't be too jarring for the reader <S> (this is sometimes called third person alternating). <S> This allows you to give away important information that the main character doesn't know. <S> The Wikipedia page on narration explains various narrative perspectives and some examples of each. <A> Third person is the best way to go, especially if you are a novice writer. <S> Many writers make the mistake of using first person narrative thinking they need to explain what's going on instead of showing what's going on. <S> While I write plays, they follow the third person even though every character is speaking in first person. <S> But it is the character speaking, and not the writer telling. <S> If you are very skilled, you could get away with a first person narrative, whether injected into a story or do a whole story in first person. <S> You need to be a skilled writer to pull that off. <S> It is not that it is difficult to write. <S> What is difficult is to get your readers to buy into it. <S> That is where the skill resides. <S> In plays, I have to use diaglog that advances my plot, and if I write in an action scene, it must also do the same. <S> Most plays, it's not about the dialog as much as what is done on stage with it. <A> I strongly prefer third-person limited in much of my own writing, but there are few cases where first-person stands out: <S> when your viewpoint character has a distinctive voice (e.g. Huckleberry Finn ); when you want to have an unreliable narrator (e.g. Holden Caulfield ). <S> There are, of course, exceptions that define the rules. <S> The Thirteenth Tale , includes a deceptive narrator telling her history to the viewpoint character. <S> From what I've read, you will find a lot of omniscient-view third person in older books , but it seems to have faded in popularity. <S> The only times I've really noticed it myself, though, it had distracted me from the story, so examples of well-written omniscient perspective could have slipped by me. <S> Your market might also influence the choice of viewpoint. <S> It appears [citation needed] <S> that teen/YA SF stories these days favor first person, while adult SF favors third-person limited. <S> I can't speak for other genres. <A> Use third person. <S> As explained in another answer, third person limited is probably what you want. <S> Think of it this way <S> : You are like a journalist who follows a particular character around. <S> You see what (s)he sees. <S> You know what he knows, because you can ask a question (off-text) and be told the answer. <S> You know what he is thinking, because later he will tell you about it. <S> But you don't know what anyone else is thinking because your main character does not know that. <S> However, if your main character can decide that someone else is truthful or lying based on other things (such as a tone of voice, or facial expression), you can report that. <S> You can also report what your main character would easily be able to discover. <S> So, if your main character is George, you can write, " <S> Sally was born in Illinois," because George could learn that, and tell you. <S> But you could not write, "Unknown to George, Sally..." because George would not know. <S> You are speaking, not narrating. <S> Thus: "I walked into the bar, which stank like my old gym shoes. <S> The barmaid looked like an old girfriend. <S> The liquor tasted like cheap generic booze diluted with horse piss. <S> Etc. <S> " None of that is true. <S> A Third-person narrator would not write it. <S> But anyone can say it, and thus a first-person narrator can write it. <S> Proof: <S> Read the novels by Raymond Chandler.
| Third person limited may be what you are looking for. As I see it, the sole advantage to first person is that you can exaggerate or lie.
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Why do typesetters capitalize the first few words of a new chapter? Something I've always wondered. You've probably noticed that in some newspapers or books, the first few words of a chapter/story are bolded or capitalized, similar to initials . For example: This image isn't from a real book, it's from an SE puzzle parodying a newspaper . It should convey my point though. I've heard that this is a typesetting convention and it is not the writers who capitalize these words. However, what is the point? Is it recommended in publishing? Does it actually help readability, or is there some historical reason? <Q> That's called a lead-in. <S> The general idea is to use special formatting (e.g. all caps, small caps, italics) to gently guide the reader to recognize where the text begins (or resumes after a break). <S> If sections are marked with headers, guidance like that isn't strictly necessary. <S> In those cases, the use of lead-ins is a style choice. <S> And, yes, that kind of formatting is the publisher's job, not the writer's. <A> As D-H E noted, that is the publisher's job, not the writer's. <S> Of course, if you are a self-publisher, then it is your job! <S> It is strictly a matter of style. <S> Nothing else. <S> In some cases, where text is packed with non-texts (such as magazine ads) it is a visual cue to where an article begins. <S> In other contexts, such as a printed novel, it is merely a way to focus the reader's attention. <S> In the case of fiction (novels), it works best if the author's writing lends itself to this opening style. <S> Others don't. <S> Note: In the unlikely event that you use LaTeX, the magazin package does this. <A> This type of formatting is the precursor to modern day click bait from titles such as Buzzfeed. <S> Through highlight using a line and sinker, it leads the reader in to read further. <S> This is not very relevant in writing unless you are directly targeting an audience.
| Some authors have a catchy lead-in for each chapter.
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How do I know when to include subplots? Disclaimer: This is not a duplicate of this question . That question deals with subplots being necessary to a story's success, and also loosely how to create them. This question is aimed at knowing when to include subplots, and how many I need. If any. Let me open by saying that I design my novels extensively before ever writing the first draft. I create my characters and design my plot (amongst other important things), and then write. However, I've recently discovered that I haven't been including subplots in my stories. This leads me to the question below: How do I know when I need subplots? How do I know which subplots I need to create? Looking at answers about subplots on this site and others, the general idea of a subplot seems to be that it can show other sides of your characters, making them more real to the reader. It can advance or effect the plot, sending it in different directions. I've even heard one suggestion that it can reinforce the theme on a more personal level. The point is, you could create a large number of subplots. You could have one for every main, secondary, and tertiary character, a handful to mix up the main plot, and one or two to support the theme. But if you do that, you're going to have way too many subplots. Your novel has a main plot, a main road it's trying to take. You don't want too many sideroads, because then the main road becomes obsolete. It's no longer the main road. It's just another side-road. So, to repeat the question, knowing that, how do I decide what to create subplots about? Is there some line I can draw somewhere? Is it at the number of subplots? Perhaps the types of things the plots are about? How do you know when to include subplots, and how many? <Q> You could think of a subplot like a side dish to a meal. <S> It provides contrasting or complementary flavours that enhance the overall dining experience. <S> How many side dishes are too many? <S> When they overwhelm or confuse the senses? <S> How many are too few? <S> When the main dish grows dull and monotonous without them? <S> These are matters of taste. <S> You tell by tasting. <S> Does the dish need something? <S> Is it being overwhelmed? <S> Use your tastebuds. <S> In terms of plot mechanics (someone had to go to Aix to pick up a widget while the main party goes to Ghent) <S> the subplot can be disposed on in a sentence ("We sent Tom and Fred to Aix to pick up a widget. <S> They met up with us later at the inn in Ghent.") <S> or it can be narrated in full over several chapters. <S> Both will satisfy the mechanical requirements of the plot. <S> Deciding whether to narrate it, therefore, comes down to whether it is necessary to balance the taste of the meal. <S> Will their tale provide the reader with a delicious counterpoint to the main tale, or will it be a weary slog of redundant flavors. <S> An experienced cook no doubt develops a good sense of when they are going to need to add a side dish as they are designing the meal. <S> A less experienced cook will definitely need to cook and taste and try different things before they develop the sensibility to know in advance what will be needed to produce the perfect balance of tastes that will make a memorable meal. <S> In short: it is a matter of taste, not plot mechanics, and you may actually have to sit down and write the thing in order to tell how much subplot it needs. <A> I'll tag along what @RobtA said above, regarding reversing the question and asking when you can get rid of subplots. <S> You described your writing process as very structured, so consider this formula for figuring out when and where to have subplots: <S> Write a rough draft of your story, focusing only on the main plot. <S> Read what you wrote. <S> Do you feel it was complete? <S> Did the characters get fleshed out enough? <S> Did you add enough foreshadowing along the way for the plot and its twists to "make sense" to the reader? <S> For the characters decisions in the main plot to "make sense"? <S> If the answer to part 2 is "no", then add subplots to fix the problem. <S> Repeat steps 2-3 till your done. <S> (Hope this is helpful, and not too "rigid"...) <A> Subplots are forms of a story that are used to lead in important pieces of information for your overarching story. <S> Think of subplots as the bricks that build your wall, (the entire arc). <S> Subplots are just generally the stories that lead to more information, a certain character's background, information about how to solve a puzzle, background on the worlds history. <A> Another way to think about this, is to repharase your question: <S> When can you eliminate subplots? <S> Consider the familiar "Lord of the Rings" trilogy. <S> Was Tom Bombadil really necessary? <S> Were the Ents really necessary? <S> For that matter, was anything involving Saruman really necessary? <S> Although I could not find it on the Internet, I recall that someone once attempted to reduce Wagner's four-opera Ring series into a single one-act opera. <S> Once you decide what is not really necessary, then you can expand from there, providing subplots that are interesting rather than really necessary. <S> The key word is "interesting." <A> Subplots can provide an opportunity to break up a narrative that's basically linear, and could at a counterpoint to the mood - they could be humorous in a serious plot, for example. <S> They allow more exploration of character, too, and in most cases should probably tie back into the main plot in an unexpected way.
| Think of subplots as stories that exist within the overall plot of your book.
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How to get a character that knows he's the main character to follow the authors agenda? I'm writing a story where at some point the main character is going to realize he is the main character of a story (like in Redshirts, but different). Now if that character was of the hero type, there would be no problem as heroes per definition think they are unsinkable and will save the girl. While most of them would probably die due to stupidity, being the main character has the advantage they don't (that's per requierement, my main characters don't just die half way through the story). This character however is rather boring and after realizing he is not only the main character but actually the main character (read: the main joke) of a comical fantasy story, he loses all motivation to pursue the authors (my) agenda / the goals set out for him. As an example think of the following situation (let's call the main character Joe). Joe picks up the gun, pauses for a second or two, tilts his head while considering what seems to be a vaguely insane idea, puts the gun to his head, looks up - because for some reason he believes I am somewhere above him watching, which in itself is a rather unrealistic concept for I am an author and not a god, but we had already established Joe is not the most clever person and maybe a theological discussion should be moved into the appendix - and with a challenging tone says "You know what?! I'm done. Get me home now or the story ends right here! I'll count back from 3 and if I'm not home at 0, I'll kill your stupid main character. 3 ... 2 ... 1 ... I mean it!" Click. Dud shot. Click. Dud shot. Click. Dud shot. "Seriously?!" The world doesn't have many specifics, the main character can't be 100% sure he actually is the main character, but apparently he evolved to just not care or he is certain enough. Now imagine beeing in that situation - you were thrown into a world where some allmighty entity threw you into a situation you completly dislike and has to prevent you from dying. You decide to challenge that entity instead of following it's plans. My question is, how do I get that character back on track? Or rather, what can I build into my world to motivate someone to do as I say even though they know they have the sympathy points and I don't? As a limiting condition - I don't talk to any character, but I can do/create what I want as longs as it is funny. So basically I need to construct a set of boundaries around a character's basic needs and that character beeing a "good person" to get him to go beat the bad guy. To further narrow the question (and prevent it from beeing closed as to broad or off topic), I'm only interested in creating a set of boundaries around a "normal person" from a world like ours that does think what he perceives is real but knows there is any sort of restriction that keeps them from dying and just wants to go home. Edit:As suggested in the comments I'll try adding something to rate the answers - (the mental hospital one is hilarious especially because it allows drugs and hypnosis to be introduced but) I'd like it to be something usable in a medieval/fantasy setting, it should be funny and disruptive to the main character (think of a battle between character and author) and require a minimum of direct author actions (just teleporting the character where I want him to be is a no go) and at the same time be effective. The mental hospital answer for example solves the problem in a way I really like, it's just not a perfect fit to my world (sorry for not making that clear before) and a little (really just a little) radical, but that's the way I was thinking, something using in world resources and e.g. just bad luck in that case to impose my will. The simpler the solution the better. Simpler in this case just means that the reader could accept that just happened or was a very smooth way of solving this problem (like that someone was watching and put him in a mental hospital, that's exactly the sort of accidental influence I'm aiming at). Short example of another incident - the main character was shifted into another dimension by an anomaly while sitting on the toilet and there attacked by a skeleton. Because he had no way of winning that battle the toilet was dimension shifted too just a little later and crushed the skeleton - in my opinion that's a better fit than having a passing by giant stomp the skeleton into the ground. I hope I actually made it clearer not unclearer ;) <Q> Empathy <S> After a Groundhog day-esque period of time where the MC feels he can do anything, see the consequences stick to the people he cares about. <S> In the above example, you could have the gun go off as soon as its not pointing at himself, and have a bystander catch a flesh wound from a ricochet. <S> The Villan realises hes the main character too <S> Nothing ruins your day like being actively targeted by the big bad. <A> Have another character witness the gun to the head moment and then shift the next scene to the admitting ward of the local loony bin. <S> This will give you plenty of opportunities for humorous scenes involving the other patients. <S> You could even throw in a megalomaniac, who can feed into his main character identity, by proxying for you, the author. <S> Then after he vents his dissatisfaction with his role and receives encouragement from your proxy, he can learn that he has been arguing with a crazy person (as opposed to an author - which is a very fine distinction) and begin to doubt his conclusions. <S> As long as he believes that he is at the center of a grand divine comedy, he will resist your plans for him. <S> But once he goes back to believing that the world he lives in is real, he is once again your puppet to command. <S> Transition from the loony bin chapter with a scene congratulating him on such a swift recovery as he is released into his own custody. <S> Your story will have lost 27 days (which I believe is the minimum incarceration for an attempted suicide), but that is a minor loss compared to losing your main character. <S> And this all prepares the way for a second revelation of his characterhood in the final chapter, where you can finally speak directly to him from your authorial throne; congratulating him on a quest well completed and listening to his urgent petition to you for many, many sequels. <A> The crucial observation is that this is a first-person narrated story where the author-god is a fallible, limited character. <S> You now have a classical conflict between Joe and the author-god-narrator. <S> So write this conflict. <S> The narrator's inner conflict may be more important considering the Joe-as-figment-of-imagination inner and outer interpretation. <S> Explore questions like, why does the narrator-author face so much difficulty in writing a character who would do as he ought? <S> Is the narrator feeling excessively powerless or reckoning with the laws of the universe and bounds of his own imagination? <A> In the Wheel of Time, characters say to each other <S> "you are ta'veren, and the pattern weaves around you." <S> Cynical readers have long translated that to "you are A Major Character, and the Plot weaves around you." <S> Many a coincidence (all of which of course are the arm of the writer) can be explained this way. <S> So your "hero" needs a sidekick who is able to detect Major Characterness. <S> You'll need a backstory and a word (probably with an apostrophe in it) for the state of being a Major Character, and one for the Plot as well, and you'll be all set. <S> I'm not even kidding. <S> You're lampshading the whole thing by having the hero notice, so give it a name and give the hero someone to discuss it with. <S> That someone can also cheer the hero up and offer encouragement or reassurance, or at least attempt to talk the hero out of any crazy schemes to get out of being a Major Character.
| Doubt is going to be your best tool for getting him back onto the hero quest. Your MC might not want to play the authors games, and there is a limit what you can do to them , but you can certainly ruin his friends/family/love interest.
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How much character development is necessary beyond what the story line provides? Critics of my screen play tell me that I have done a good job of developing the story, less so in developing the characters. A couple examples follow: The main character is a woman who is the "fifth" partner in an advertising firm, for which there are only four corner offices, none of which is hers. The woman is incensed with this fact, especially after the managing partner hints that she is better than his other three partners (all four of these are men). The woman's main subordinate is a "pot-shaped" man who nevertheless makes it to CEO because her guidance set him on an unlikely trajectory. (Even after she leaves the firm, she "guides" him by "proxy.") He never expects to make it to the very top, which would be a daunting task for any advertising executive, never mind a pot shaped one. Others tell me that it's not enough to assume that the reasons for this woman's discomfort or the man's lack of confidence are self-evident, but go into their backgrounds to explain why they feel this way. Do most authors and critics feel that this is true? If so, what are ways to develop the characters of these two people over and above the storyline? <Q> I disagree with the notion that an Author must delve into the background of each character for character development. <S> But, this is one of the primary ways to develop characters without affecting the main story arc. <S> However, expanding on a character's background in itself, doesn't necessarily provide character development. <S> (ie, I'm afraid of snakes due to a bad encounter when I was young) <S> Some examples of how to build character development without necessarily building in a lot of backstory/background: <S> What has led your protagonist to help her subordinate into gettingthe role of CEO? <S> Just because she's a helpful person may not beenough. <S> Expand on why she's a helpful person. <S> Why is she incensed with not getting a corner office? <S> What makes herthink she deserves one? <S> Some people may not care about having thecorner office, but instead would care about how they were treated in everydayconversations. <S> Does a friend/spouse constantly point out that she'snot being treated fairly? <S> Does this sense of entitlement come form somewhere else? <S> Explain <S> /expand on this. <S> Why does she leave the firm and continue to help her subordinate? <S> Isthis retribution for the perceived wrongs that the company has doneher in the past? <S> But if she elevates her subordinate becausehe's <S> /she's a good worker, then your protagonist is actually helpingthe company. <S> This is somewhat a conflict of morals. <S> Why does she gothrough with this? <S> The "why" behind these actions would have to be greatly detailed or characters might appear hollow. <S> Why does the Pot-shaped character remain this way? <S> No exercise? <S> Whywould he not change his appearance if he knew it would affect hischances of becoming CEO? <S> In general, when characters lack depth, it is usually because they don't have the "why's" behind their actions explained. <S> With regards to how much character development is necessary. <S> That is largely subjective, but if you're getting feedback that you may need more character development, then it might be good to include more. <A> A short story I wrote recently did not feel quite right <S> so I rewrote it in the first person (yes, I know some magazines won't accept first person). <S> I found I had a much greater insight into that character's motivations and why she acted as she did. <S> Try getting your character to write some diary entries, or, just for yourself, write those parts of the plot troubling you as a short story in the first person. <S> Might help. <A> In story, character is desire. <S> Character is the things you want and the things you are willing to do, or not willing to do, to get the thing you want. <S> Some stories hang a lot of rich detail on these bones, and some pretty much rely on archetypes to do it all for them, but in essence it is always about desire and what you are willing to do, the price you are willing to pay, to attain that desire. <S> Often the key moment of revelation in a story is when a character reaches the limit of what they are willing to do. <S> (Will the soldier of fortune abandon the orphanage he has stumbled into to save his own skin, or has he found the limit on his callousness and must stay and try to rescue them.) <S> That is when you know who this person is. <S> Nothing in what you have described of your story tells us what your protagonist wants, or the limits of what she is willing to do to get it. <S> If those things are not made clear in your story, then your readers will have no sense of who the character is. <S> As far as what the story line provides, the shoe is really on the other foot, it is the character's desire, and the limits on what they are willing to do to achieve their desire, that create the story line.
| What is really needed is to provide the "why" behind a character's actions and expanding on a character's background is a good way to do to this.
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Will bookstores order a self-published book if customers request it? If a book is not returnable, has a wholesaler discount of 45% and costs £10.99, does a book store sell this book if a customer comes into a store and wants to order it? In short: Is a book still available in a book store if a customer requests it, even if the bookstore does not want the book in their stock, because of the conditions above? Do they order a copy if a customer asks for it? <Q> I don't know if this differs in the UK, but in the US a bookseller might order the book as a courtesy to a customer, provided the customer pays in full (since it can't be returned). <S> (Again, this is the US). <S> I wouldn't ask a bookseller to order a self-published book from CreateSpace. <S> It could be seen as insensitive to some booksellers' feelings about Amazon. <S> For more information on ways self-published authors can get books into stores, please post a question! <S> I have some understanding of this. <A> This depends greatly on the bookstore. <S> Recently there has been a rebirth of small independent booksellers, which were once an almost extinct breed. <S> A bookstore like that might be more inclined to accommodate a local author. <S> The discount sounds right, but the non-returnable clause might make some people balk. <S> In any case, it's hard to see how this would work as a customer-initiated request, since the bookstore would have no way of knowing where to obtain your book <S> --unless <S> you were directly involved, and in that case, why have the middleman? <S> Some individual branches of large chains may also work with local authors, based on the manager. <S> However, in general, big box bookstores order exclusively through the major distributors. <A> Self-published books are made available to all bookstores via Createspace EDC or other distribution channels. <S> Createspace partner Lighting source, Ingram, Barnes and Noble and other to provide a worldwide distribution system. <S> However. <S> discounts are fixed (60% for Createspace) the result is unreasonably high retail prices and virtually no commission for the writer. <S> Your POD printer will have details of available distribution channels. <A> I have gone to my local bookstore to order a self-published book . <S> I gave them the ISBN, they ordered it, it arrived a week later, I walked in and completed the transaction. <S> The book is now on my shelf. <S> So yes, it's possible. <A> I agree with Jenny, it would be totally insensitive to order a self-published book printed by CreatSpace (Amazon) from an independent bookstore. <S> IngramSpark, another POD printer (part of Lightning Source) who distributes through Ingram Content Group (previously Ingram Book Distributors) will work with independent bookstores. <S> You can set your own discount rate and return policy.
| It would need to be available through a standard distributor; for example, I believe Lightning Source distributes books through Baker & Taylor. Whether your local bookstore will do it is up to the store.
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What are some good strategies to use when naming a fictional city? I've read a lot of the questions on here concerning naming characters and deciding on whether to use a fictional city. I have already decided to use a fictional city in the piece. But, my problem with naming concerns finding names for cities. What are somethings to help with this? And, what should I avoid in the name if the city is based off a real place but I don't want the readers to associate the real place with the fictional one? How do I go about naming a place, in general? <Q> Think about these general questions: <S> What era is your story set in? <S> Do the characters use latin, greek, Norwegian to theme all their cities? <S> Are there multiple countries, and do they have different naming conventions? <S> Is there something you want to convey in the story, a theme or a motif? <S> Perhaps the name of the city relates to a common theme that runs through it. ' <S> Sin City', 'Kings Landing', 'Sunnydale (an ironic name)' Think about how the name of the city can play into your story. <S> Do the characters live in a big brother society, where the name of the city holds background connotations or act as a clue to their situation? <S> In regards to theming your name with a real life location, post-apocalyptic stories do this very well. <S> As time develops, we develop new quirks to our language. <S> We recently add 'new' to the names of cities to signify a new city, or change of culture. ' <S> New York' was to signify the cultural connections of the initial settlers that came from York. <S> However in games such as Fallout, having the names of a real life location acts as a story reveal, for example, 'The Commonwealth' is the name for the post-apocalyptic land of Massachusetts. <S> If you want to set your story in a future society, you could use terms such as New Paris, however it may be even more effective to reveal the history of the location with a unique name that holds connotations to the past. <A> Think first about the country you want your city to be in. <S> Then find out who the first people were that discovered your country. <S> Let's say you want to name a city in Britain. <S> The first people there were the Romans. <S> Think about what the Romans could find special in your city. <S> Maybe there were, <S> I don't know, many bears as they arrived. <S> So you take the Latin word for bear, which is 'ursus'. <S> Now try to make that word sound English. <S> A little hint from my side is that typical endings of cities in Britain are:-chester-ton-ham-mouth-fordor elements from nature like:-pool-field-land <S> So if you come back to my example you could call your city: <S> Ursmouth, Ursford, or Urspool. <S> I hope I could help you out <3 <A> Within the US: place names all over the country derive from tribal names and native-American toponyms: Seattle, the Dakotas, Massachusetts. <S> cities are named for prominent people who died before the city was founded; as the countries was settled east-to-west, more westward cities are named for more recent people (William Pitt died in 1778; Lincoln in 1865) in the Southwest, city names are typically Spanish, often beginning with San/Santa (meaning "sainted" or "holy") or Los/Las/El/La (all words for "the") in the Midwest, cities often incorporate geographical features, ending in "Falls", "Buffs", or "Hill" on the East Coast, many cities are named for coastal features: "Bay", "Cove", "Beach". <S> Pick where you want your city to be (or to suggest being), find a dozen cities in that area, look for a rule, and invent a name that fit both that rule and the mood you are trying to create. <A> I typically use pet monkey name generator or behind the name. <S> I look for names sometimes based on meaning or language and other times I browse. <S> Once I hit on a sound <S> I like <S> I alter it to make it mine.
| I like to use a naming generator to help me get an idea of what sort of names fit my story.
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Is this an example of an unreliable narrator? I've been writing a mystery story recently, but I've run into a problem concerning themajor plot twist, and was hoping for some guidance from more experienced writers. Here's the scenario: Person A (the narrator) and Person B are twins, and thus are very close. Recently, a series of murders has happened in the area, and the group of friends that Person A and B are part of are trying to find out what's going on. Person C, one of Person A's friends, is convinced that Person B is responsible for it all. She provides compelling evidence that proves her claim, and says that they should confront Person B as soon as possible. However, Person A refuses to believe her and provides counterclaims that are equally as valid as Person C's. The twist is that Person C was actually right, and Person A was blind to it because of how much he cared about his twin- not even considering the chance that Person B could have actually hated him (which Person B indeed does). Of course it's more detailed than that, but I don't want to make it too complicated. I just want to know if this is flat out lying to the reader or an unreliable narrator. Also, do any of you think this is a cheap twist? <Q> I'm not sure if what you are describing is unreliable narrator at all. <S> An unreliable narrator is not one who is mistaken about facts. <S> An unreliable narrator is one who is deliberately deceiving the reader. <S> You say the twist is that B is really right about who did it. <S> But how do we know that this is the twist? <S> Since A is the narrator, how do we know that B was right. <S> Does A finally tell us that B was right? <S> In that case they are not an unreliable narrator, they are reliably narrating a story in which the jumped to a wrong conclusion and were finally convinced of the right solution. <S> That sort of thing is pretty common in first-person detective stories. <S> Or does A maintain to the bitter end that A was right, while at the same time revealing enough evidence to convince the reader that B was actually correct? <S> That is going to be extraordinarily difficult to pull off, and some percentage of readers are always going to be left confused. <S> You had better be doing it for some reason other than as a gimmick or it may be torches and pitchforks for you. <S> But even then, this is not really an unreliable narrator, just a narrator who is honestly relating an interpretation of facts about which they are mistaken. <S> A truly unreliable narrator would be one who is genuinely attempting to deceive the reader, or one that is genuinely delusional. <S> That is obviously pretty hard to pull off in the context of a detective story. <S> It raises the question of who they are attempting to deceive and why (which presumes a narrative addressed to someone other than the reader) or of why this person's delusion are germane to the story being told. <S> The episode of BTVS when Buffy thinks she is a patient in an asylum and her friends and her vampire slaying are an illusion comes to mind here. <S> But of course that episode is inconclusive. <S> The whole series might indeed be the imaginings of mad Buffy. <S> But does leaving the reader with similar doubts work for a detective story? <S> Is that your intent? <A> From this Wikipedia article <S> Examples in modern literature are Moll Flanders, Simplicius Simplicissimus or Felix Krull. <S> The Madman : a narrator who is either only experiencing mental defense mechanisms, such as (post-traumatic) dissociation and self-alienation, or severe mental illness, such as schizophrenia or paranoia. <S> Examples include Franz Kafka's self-alienating narrators, Noir fiction and Hardboiled fiction's "tough" (cynical) narrator who unreliably describes his own emotions, Barbara Covett in Notes on a Scandal, and Patrick Bateman in American Psycho. <S> The Clown : a narrator who does not take narrations seriously and consciously plays with conventions, truth, and the reader's expectations. <S> Examples of the type include Tristram Shandy and Bras Cubas. <S> The Naïf : a narrator whose perception is immature or limited through their point of view. <S> Examples of naïves include Huckleberry Finn, Holden Caulfield and Forrest Gump. <S> The Liar : a mature narrator of sound cognition who deliberately misrepresents themselves, often to obscure their unseemly or discreditable past conduct. <S> John Dowell in Ford <S> Madox Ford's The Good Soldier exemplifies this kind of narrator. <S> I believe your narrator is The Naïf . <S> As for a plot twist being cheap or not: if everyone knows everything it is not a mystery novel. <S> All of the stories in that genre are build on the fact that only the criminal knows exactly what happened (while still could be wrong about a great many other things). <A> It sounds like your story has a narrator who does not, in fact, know the truth. <S> Dr. Watson is sometimes seen as an unreliable narrator of the Sherlock Holmes stories, because he deliberately hides or shades details from his readers. <S> He alludes to the case of "the lighthouse, the politician, and the trained cormorant," and "the Giant Rat of Sumatra," saying the world is not yet prepared for such stories, and doesn't go into detail about why he and Holmes have to leave London for a few weeks in the summer of 1895. <S> He also flat-out says that he's changing names and details to protect the identities of some clients. <S> In your story, Person A can't lie to the reader if A doesn't actually know that B is the murderer. <S> It's possible <S> that A knows things which s/he is withholding from the reader, which C/D/E etc. <S> would then bring up, but the reader would then have to see/hear that happening. <S> If A is narrating, A has the "ability" to refuse to "tell" the reader what the other characters say. <S> (If the story is just from A's POV but in third person, it's easier to determine if A is telling the truth or not.)
| An unreliable narrator is one who knows the truth but doesn't reveal it to the reader. The Pícaro : a narrator who is characterized by exaggeration and bragging, the first example probably being the soldier in Plautus's comedy Miles Gloriosus.
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Is there a widely accepted standard for representing simultaneous ongoing events in a screenplay? Let's say I'm writing a scene where Arnold and Jo are arguing over whether to go out tonight or not. While they do this, though, Rupert is also in the process of constructing a house of cards, and Gertrude is quite noisily searching in the cupboard for some lasagne sheets. Each of these things play out in their own time, only to simultaneously reach their conclusion: Arnold finally gives in and cries, "Fine. Have your way. We'll go the post office!" Rupert finishes his house of cards, only to step backwards from it and have it collapse. Gertrude finds the lasagne sheets, and cries "lasagne!" in triumph. (Assume, for the sake of argument, these will all be captured in a single continious wide shot.) Are there any existing conventions about how simultaneous threads like these should be dealt with in a script? If not, what can be done to minimise the confusion for the reader. <Q> ... <S> what can be done to minimize the confusion for the reader... <S> While I am not an expert on script formatting convention, it is my understanding that neither screen nor stage scripts are intended for just reading, but rather for performing by professional actors under the professional director's guidance. <S> Author's notes ( action or parenthetical ) should suffice. <A> As in any creative endeavour, it is up to you to decide how the scenes play out depending on what you want to convey. <S> Are Arnold and Jo heading for a breakup because they are always arguing? <S> Have the house of cards collapse in a cut-away straight after the argument concludes. <S> Is the lasagne going to be a disaster? <S> Have the cards collapse after that. <S> Is Rupert orchestrating Arnold & Jo's contuinual arguments? <S> etc. <S> You decide what you want the scenes to say. <A> This seems like something for FunnyBackgroundEvent. <S> You might have the cards happening on screen, but not the primary thing, and the cooking as well, and then when the argument concludes, possibly with a doorslam, the cards fall, and the lasagna pan is dropped, or the souffle deflates, etc. <S> ... <S> Oh... <S> You want how to write it into a script, like in words... <S> No help there, sorry...
| Have him flick the cards so they collapse just before the conclusion of the argument.
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Not sure if my idea for a conclusion is introducing a new argument I hate conclusions, but one thing I know about them is that you're not supposed to introduce new arguments. The theme of my essay is about how the class of characters in the work I'm writing about influences what happens to them, or more plainly: How class influences the situations of characters. Would it be considered introducing a new argument in the conclusion if I wrote about the lack of social mobility and higher income inequality in the world today ? Would it depend on how I stated this? I've been stuck on my conclusion for a while and would appreciate some help. If I wasn't clear enough, please tell me. <Q> The conclusion of a piece should be the wrap up , or the judged reasoning of what you have come to from your analysis. <S> In a scientific article, the conclusion lists what the end result of the experiment was; Was the hypothesis correct? <S> In terms of an English essay, it's similar. <S> You don't introduce anything new - a physicist won't suddenly add new information in the conclusion, "Oh, by the way, I did this test three more times with this different liquid". <S> In your case, it varies. <S> If you're introducing evidence, for example, a quote that states that there is more income equality or lack of social mobility, or discussing how the text relates to modern day issues, that is considered adding new information. <S> However, if you are using this as our overall conclusion, for example by stating: From [author]'s use of [techniques], it is evident that the author uses class as a signification of the lack of modern social mobility, and the higher income inequality in our world today. <S> In order for this to work, however, the entire piece should be written in a way that means that this conclusion can be reached. <S> All points that you make in the essay should relate back to the idea that there is higher income inequality, and the link between the book and real life should be stated early on. <S> For example, by stating: The author's use of [technique] in [quote] can also be attributed to be a social commentary on our modern increasing amounts income inequality that has become prevalent in modern life. <S> So - ironically - in conclusion <S> , the conclusion should be a wrap up of the entire piece that summarizes information stated before hand. <S> It varies based on what information you're intending to use in the conclusion, however as a rule of thumb - you can always introduce the concepts early on, and carry them along as a theme for your entire piece. <A> One valuable rule of persuasive writing --which includes essays --is "tell the audience what you are going to tell them [introduction], tell them [main body], then tell them what you told them [conclusion]. <S> " <S> The reason behind it is that it can be surprisingly difficult for people to process new ideas. <S> So a bit of targeted repetition actually helps. <S> If your conclusion does not match your introduction and main body, it will be unlikely to persuade people, regardless of its own merits. <S> They may find your writing confusing and off-putting, or deceptive. <S> Or, they might just wonder why you wasted time talking about something different, only to rush through your best argument at the last possible moment. <S> It sounds like the lack of social mobility is a good support to your main argument --so why not introduce it earlier? <S> The fact that you dislike conclusions suggests that you're trying too hard to do new work in that section. <A> Rhetorically speaking, your conclusion should not be a mere summing up of arguments already presented. <S> Rather, it should build a rising tide of emotion and conviction to carry your reader irresistibly to act as you would have them act. <S> The whole point of communication is to change the reader's behavior. <S> There are no points (except in school) for following the formula. <S> There are only points for the actual effect of your essay. <S> If bringing in a new argument at the end, particularly tying your argument to something the reader already knows and already feels passionately about, can help build to that great crest of conviction you are trying to achieve, then go for it. <S> This is not to say that you should ignore the conventional form entirely, but it is to say that the conventional form is only a form and a convention. <S> It is doubtless based on some valid principles, but slavish adherence to the form seldom brings any work to a resounding crescendo. <S> If the mob needs to hear one more accusation of monstrous villany before they take up their torches and pitchforks and storm the castle, by all means throw it in.
| If your introduction and main body are strong, the conclusion should write itself (by just reiterating them).
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What are the keywords of fantasy that might deliver the feeling of fantasy I am asking about the keywords that could make anyone feel fantasy. it will be better if every one who will see this post could tell me what their feelings are or express their feelings in one keyword that delivers fantasy.Thanks in advance :) <Q> Lexical (Semantic) <S> Fields <S> I'm not going to give you words to describe fantasy <S> - that's not the point of this site. <S> Instead, I'm going to introduce you to what a lexical field is. <S> A lexical field is a 'family' of related words. <S> This is also known as a semantic field . <S> For example, here are some words in the lexical field of nature: Tree Forest Green Sylvan <S> By coming up with words relating to one lexical field and using that in your writing, you can reinforce a certain mood. <S> For example, you can restrict yourself to using lovely words, or sad words, and that will help reinforce the mood of your novel. <S> What I suggest you do, is think of some words you associate with fantasy. <S> Create a lexical field of fantasy words to use in your writing. <S> You're looking to make the setting as accurate as possible to what is in your mind. <S> If it's sad fantasy, use sad words, etc. <S> Due to this, I don't believe it's right to just hand out words to you. <S> Use a semantic field to assist you in creating a true sense of setting within your writing. <S> I hope this helped you. <A> Choose words and symbols to illustrate your fantasy, rather than something generic. <S> First off, there are a number of free online tools for exploring words' synonyms, connotations, and impact. <S> One I like is: http://graphwords.com <S> Secondly, if you figure out what makes your fantasy unique, and find words that illustrate and support that, you'll be telling your own story, rather than some generic (and IMHO thus more boring) story. <S> So if your fantasy involves, say, magical trees, find/search for words related to trees, folktales about trees, tree spirits (dryads), origins of Christmas trees, etc. <S> Use the resulting info to 'color' the world your story takes place in and its characters. <S> If dragons are a focus, make word/concept lists to support flying, fire, jewels, caverns, treasure etc. <S> And you can do this with names (though best to avoid being obvious about it.) <S> For example, 'Thorin Oakenshield' gives some character hints that 'Thorin Jones' just doesn't. <A> Words individually do not give the feeling of any genre. <S> It is how you put them together to create a picture in the reader's mind. <S> Just as a painter may use the same pallet of colors to paint a unicorn or a cart horse, so an author can use the same pallet of words to paint a fairy palace in the air of a gritty tenement in New York. <S> Read the opening of some of the great fantasies like Wind in the Willows or LOTR <S> and you will find that they use very ordinary words. <S> It is how those words are combined to produce images that makes the difference.
| It depends on many factors, and you should decide for yourself.
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Issue with flow of dialogue When I'm writing dialogue, I have a problem figuring out what is the appropriate thing to say in the conversation. Could you please help? <Q> Dialogue consists of two characters trying to get something from each other. <S> Each has a desire that they want the other to fulfill. <S> Each has some reluctance in fulfilling that desire, or else has difficulty figuring out what that desire is because the other is not, for one reason or another, stating it clearly. <S> They may be ashamed of their desire, they may be afraid of rejection, they may be attempting to deceive. <S> But they want something, and they are choosing their words, in a way that is consistent with their character, to try to get the other person to grant their desire. <S> The is true of both people in the conversation, so every passage of dialogue is like a game of chess: move and countermove, each person attempting to increase their chances of winning. <S> If you don't know what to have a character say next, it is because you have not thought through what they are trying to get from the other person, or what the other person is trying to get from them, and why they are reluctant to grant it. <S> Figure those things out and the next line of dialogue will be obvious. <A> While dialog is often used to resolve a conflict of interests between two or more characters, it is not the only purpose it can serve; it can also be used to establish your settings <S> (the notorious maid-and-butler/as-you-know trope comes to mind instantly, but when executed tastefully, a dialogue can provide you with a fast and compact way to avoid lengthy chunks of description, serving the reader only bits of information which are immediately needed). <S> The way your characters talk is may (or even should) be telling (or, showing , rather...). <S> People, who know each other well, often finish each other sentences. <S> People who are just introduced might want to impress each other with their eloquency, and some people start their sentences with "I mean" without, like, saying anything before that which might, like, require, like, clarification, or something. <S> Figure out your conflict, figure out the settings, decide who is talking, and type away. <S> One thing to avoid for sure: small talk. <S> Unless you greeting bears an important meaning ( "Ave, Imperator, morituri te salutant" ) <S> , all hi's and how-do-you-do's are <S> just garbage whith pollutes the narration. <A> Read a lot. <S> Pay attention to how your favorite authors present dialog. <S> You might find that written dialog doesn't include everything everyone says from when they meet to when they part. <S> It starts when the important stuff begins and ends when it ends. <S> It leaves out all the hellos and how are you's, as well as <S> the <S> I really should be goings and goodbyes.
| Limiting yourself to the meaningful, important, interesting bits of conversations might help you get through them.
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How important is owning the copyright on illustrations as a first time author of a children's book? I am a first time author looking to publish a children's book which I need to have illustrated. I have a contract offer from a well-known vanity publisher, and they have offered to produce the illustrations. The contract states that they will own the copyright to the illustrations. Is this something that should be a cause for concern, and does anyone have any experience in this matter? <Q> In this case, you're essentially paying for the illustrations (perhaps not as a separate line item, but included in your contract), with no guarantee of quality, and no ownership of the finished images. <S> It's even possible they may not create custom images for you, but draw from a library of stock images (which might be one reason they want to retain copyright). <S> You might want to look into submitting to a standard publisher. <S> They usually prefer to find the illustrator themselves, so it is perfectly fine (and probably even better) to submit without illustrations included. <S> You still end up not owning the illustrations, but at their cost, not yours. <S> Also, they are likely to be able to afford/access much higher quality illustrations, as well as work with illustrators proven to have a good grasp of the market. <S> Since they make their money off sales, not you, it is in their own interest to get the best possible illustrations, in a way that is not also true for the vanity press. <S> That way you get editorial oversight AND copyright. <S> In general, if you're willing to do the legwork and research to find competent work, you can take care of all the services a vanity press does --not always at a lower cost, but with higher quality and more long-term control over the results. <A> I disagree somewhat with the rest of the answers. <S> It's not uncommon for illustrators to seek copyright control over their work product. <S> There should be an agreement which specifies the royalties and duration of the collaboration and conditions of termination. <S> It should also be stated whether the illustration can be used for digital publishing. <S> (If digital publishing, then you need to be really clear about termination rights). <S> As long as you are not turning over exclusive use of your writing as a condition of publishing, you should be all right. <S> On the other hand, if the publisher offers an advance or significant percent of royalties, I can envision an agreement where you do provide limited copyright transfer to the publishing house. <S> Everything is negotiable, and the main thing to keep in mind is that if you must give up something, you must gain something in return. <S> If they are giving a "Take it or leave it" contract and giving you next to nothing, that is not really in your long term interests. <A> As a marketplace the web has no equal. <S> Artists punt their services and provide gallery samples to entice and inspire. <S> Fair and honourable agreements work for everyone. <S> Find the work that flicks your switch and develop a sound working relationship with the artist. <S> https://www.freelancer.com/find/Illustration?gclid=COf1nv3eqNMCFQ08GwodnmIGKw <A> Worst case scenario: You want to publish your book somewhere else. <S> In that case you can not do that with those illustrations, unless the old publisher agrees (which they likely won't do, at least not for free).
| You should be cautious about any dealings with a vanity publisher, they make all their profit by selling you overpriced services. If you do want to self-publish, I would strongly advise commissioning your own illustrator.
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How to portray a passively arrogant character? How can I portray a character who does not actively seek attention, but is still vain and self-superior? Since I don't know how much information you will need, I will list everything I think might be relevant below, so you can choose what you think matters to read: Plot overview Some monsters attack Earth, the protagonist boy discovers his fancy new power and is taken by a bunch of good aliens. Good aliens tell the boy that there are bad aliens that want to attack Earth, and they must train the boy to defeat the bad aliens. The character in question is one of the good aliens Basic biography Character in question is not the protagonist, but the most important non-protagonist character, if not more important than the protagonist himself. This character is named Alice, she is female with no stereotypically feminine traits. She is 17-20 years old. Her parents are the good alien's leaders. She was raised as an experimental super-soldier in preparation for the war with the bad alien. Oh, and even though Alice is an alien specimen, consider her to be identical to be a normal human being only raised in a different society, because the good aliens' bodies and psychology has no important difference from that of human beings. Tone and atmosphere The atmosphere is pessimistic and grim-dark-ish, because the bad aliens are unimaginably strong and seemingly infinitely numerous, while the good aliens are weak and have been hunted for generations, with one crushing defeat over another. The good aliens' society is not what most modern readers would consider ideal either—they are utilitarian and fascist, like District 13 from the Hunger Games trilogy. As to the Earthlings, they are just helplessly struggling in chaos and have no significance to the story beside something that the protagonist thinks he's trying to protect. More about Alice Alice herself is pessimistic, selfish and cynical, with no desire to help her species nor empathy for anyone specifically; however, being an experimental super-soldier and one of the expected inheritors of leadership, she is also the focal point of the good aliens' remaining hope. She enjoys this kind of attention, but find the people paying her such notice to be foolish and merely amusing. With such an attitude and social position, she believe herself to be superior in intellect and power, hence the arrogance. Role in book and plot Alice is the character foil of the protagonist, or vise versa—where the protagonist boy (currently unnamed but may be referred to as "Bob") is innocent, superficially altruistic and acting upon emotional impulses. Alice is cynical, calculatingly selfish and acts only so as to advance her own welfare. When the good aliens adopt Bob as a tool to deploy against the bad aliens, Alice feels her previous prestige and attention were taken away, and is thus somewhat spiteful towards Bob. She is also aware, with some of this awareness extending beyond the fourth wall, that the arrival of Bob into the midst of the good aliens' society is like the arrive of Neo amongst Morpheus's team, like it is in The Matrix, which implies that she will inevitably become a support character like Trinity, something she strongly despises. Yet, being the most successful of the super-soldier program, she must train alongside Bob and is obliged to sometimes offer guidance. Alice will eventually enter a redemption arc, but that is after it is necessary to portray her as a passive yet arrogant person. <Q> A character is a bundle of desires. <S> They are defined first by their primary desire: the thing that is driving their action in the story. <S> Second, they are defined by their secondary desires, the things that shape or limit how they pursue their primary desire. <S> Tom wants to win an athletic scholarship so he can go to college. <S> A scout will be at the big game on Saturday. <S> But the coach is planning to start his nephew Joe instead. <S> What will Tom do? <S> Will he break Joe's leg in an alley? <S> Bribe Joe to give up the spot? <S> Manfully cheer Joe on from the sidelines? <S> These questions depend on Joe's secondary desires – does he want to be seen as honorable, or to see himself that way? <S> Etc. <S> The genre does not matter. <S> You portray a character through what drives them, the things they want, and the things they are willing to do to get what they want. <S> Don't fall into the trap of inventing a character as the intersection of various psychological descriptors. <S> Define characters in terms of desires. <S> Characters in a story can never just be, they must act. <S> Desire drives action. <A> The way I did it when one of my character was (temporarily) suffering from an over-inflated ego was to change his assumptions . <S> Questions about the world disappeared and were replaced by certainty that there was only one interpretation <S> and he knew it. <S> So, faced with an angry crowd, he never stopped to ask what made them angry. <S> He knew it and immediately acted accordingly. <S> He was wrong and things went south, but he adapted the facts, not his belief. <S> Instead of saying "oops, I was wrong", it was "ok, they are THIS angry <S> , I need to do more of that same thing.". <S> An arrogant person is most visible as one who knows all the answers, and thinks that he does everything right. <S> If you use introspection (as I did), you can show this absolute certainty clearly in the thought process. <S> If you don't, you need to show the character not listening to advise, always knowing everything, not even letting other people finish speaking before he throws in the truth and walks off without waiting for an answer (because what answer could there possibly be?). <A> They are right and being wrong would be a sign of the coming apocalypse. <S> They also would see things in a fashion to benefit them. <S> No benefit, no interest. <S> I know a guy who likes to tell people all kinds of things that are not correct. <S> He does not listen to others as he knows best and his experience and ‘wisdom’ are unquestioned. <S> He thinks he is kind and generous, but any favour he does is an attempt to gain control over the other person and gain praise from others. <S> He has elements of arrogance in his personality but does not see it nor believe it should it be pointed out to him. <S> His picayune problems are more important than anyone else’s problems because they are his problems and must be commiserated and solved though he tells others he doesn’t have time to listen or their problems are not important. <S> Your Alice will not see her arrogance, but will help train Bob as she is the only one who could possibly do so correctly. <S> While Bob might be a Chosen, so is she <S> and she was Chosen first. <S> She will look upon Bob and his Candide tendencies as a severely limited being with little potential. <S> If he is their best hope, they have two problems. <S> Nothing she will do or say will seem malicious and any sabotage would be inadvertent. <S> The only way Bob can succeed is through her - either directly or indirectly. <S> Only because of her training was he able to do x.
| Passive arrogance, as others have mentioned, is about believing they know more than others and more than they really know. Define your characters in terms of their desires.
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What would be a good way of electronically organizing my aphorisms? I have been writing aphorisms for the most part of my life. Up to now, I noted them down in (real-life, paper) notebooks. From time to time I copied them to a MS-Word-file, which has now swollen to about 100 pages. To cut it short, since I keep on producing and am now also keen on arranging them into collections, sections... it would probably smart to find a better way to collect these bits. In practice I am looking for an application, that would allow me to collect these aphorisms as single "files" or "quotes", reject duplicates, sort the "files" alphabetically, rearrange them into subcollections, and maybe most importantly: export them to printable formats like docx, odt, pdf, ... I am aware, that most reference managers would in some way offer at least a part of these functionalities, but that which I tried are still very limited when it comes to e.g. clarity of arrangement. I hope somebody has some experience on the subject! PS I'm on Mac OS 10.12 <Q> +1 for Evernote. <S> Its nice, clean, easy and has a decent iOS app. <S> It's been a while since I've used it <S> but I believe it has all your requests. <S> I would advise keeping on with the notebook as well. <S> I have gadgets coming out the ears and they are great for capturing what I want to remember immediately. <S> I find it can be somewhat transient, however. <S> The information is so quickly saved and filed, it does not engrave itself on my mind. <S> I've noticed this with all kinds of note taking. <S> So I always write out my key ideas in a mini-moleskine in addition to a digital version. <S> There is also some part of cognition that I find looks at hand writing differently. <S> I suspect it has to do with translation of pen strokes or something, but I will often catch myself skimming with digital source. <S> Not so with my written 'mess.' <S> I use digital to create an easily browsed library. <S> It's $40 bucks which is a lot these days, <S> but like I said, it does everything and <S> it does it all well. <S> Very powerful. <S> Might be a bit extra for your needs in which case checkout Evernote. <S> http://www.cdfinder.de/en/info.html <A> It wouldn't necessarily help for categorization, but a simple Excel doc could help a lot with sorting and de-duping. <A> I believe Evernote 1 is an excellent tool for that. <S> Not only you can capture snippets from every webpage or ebook, you can also organize them in tags and categories.
| I use Neo Finder because it sorts almost anything and is just a beast.
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Would it be possible to create a character without substantial motivation? The character I describe is in fact reflective of somebody I know in real life--a kind of nihilist who finds all pursuits and goals "hollow and ridiculous", as the person says. This inevitably implies that the person in question live day by day on trivial concerns--the pursuit of food, shelter and idle comfort, as opposed to the long-term-goal-oriented efforts of most others. (e.g.: go to school to learn a skill; earn money with skill; use money to buy a house and live happily ever after etc.) I wonder if it would be possible to re-create such a person in fiction; my intuition is that it will be difficult to see consistently comprehensible actions from such a character, in other words, such a character will not perform series of actions that are all constituent of the same goal. Instead, such a character would only react to the happenings of any plot, and would thus only be suitable as a secondary character whom the main characters observe externally . However, my understanding of literature is limited, and there might be precedents of such characters being successfully portrayed in other roles. Addendum: This person whom I know in real-life developed their nihilistic attitude from religious/philosophical disillusionment, as they describe. Unlike the typical hedonistic stereotype of a nihilist, this person is in fact abstinent and holds many socially progressive views and principles. However, they said that there is no rational justification for these behaviours, and that they don't see these actions to be morally superior to "depravities" including violence and substance abuse on an intellectual level. Beside these, this person also has talents in programming and art, and often create things in these media, but they said that while these exercises are interesting or beautiful, they are not meaningful in any way. <Q> What you describe is a person who denies the value of anything, and yet creates things. <S> This is a contradiction. <S> And yet this person creates software and art and formulates an expresses an nihilist philosophy. <S> There is a conflict there, and conflict is the meat of story. <S> So, what drives this person to create the things they create and to say the things they say. <S> All acts are motivated. <S> This person denies motivation, and yet they act. <S> Why is their expressed philosophy of life at odds with their actions? <S> Is it a pose? <S> Are they deceiving themselves or seeking to deceive others, or both? <S> What could challenge their actions or their philosophy? <S> What event could force them to confront this contradiction, make them deny their words or change their actions? <S> The thing about stories is, they are about life as it is lived. <S> They are not about the rightness or wrongness of the character's weltanschauung, they are about the nature of living with that weltanschauung and its consequences in the life lived day to day in the real world. <S> Lots of people express nihilism. <S> No one lives the logic of nihilism. <S> Your belly won't let you. <S> Essays may leave out the belly, and its ambitions. <S> Stories don't. <S> this person has a story whether they like it or not. <A> The point of a story is to have a conflict on the road to a goal. <S> In your case, your goal is to have a nihilistic life, and therefore a conflict to this would be situations that clearly attempt to flip this upside down. <S> Does he absolutely not want to be famous, so he somehow accidentally becomes famous? <S> Does he get mixed up into something? <S> Otherwise, maybe there's an internal conflict that you want to develop, or a conflict with other characters. <S> Refer to these conflict types . <S> Of course however, you're not limited to just one type of conflict. <S> There are stories that expand through all of them, or just a select few. <S> Generally, think around the lines of this: <S> What is the main character's goal, and what stands in the way of their goal? <A> As for the purpose, which that character serves, and how that character helps your story unfold–it is for you to decide as well. <S> However, regardless of what they say or think, the circumstances could force them to act–sometimes, even heroically–while all they would rather do is staying out of the thick of things and fish of binge-watch Stranger Things (take the sheriff from that show–his character arc starts from sceptic reactive reluctance and only after a few episodes he evolves into someone who is committed and involved proactively). <S> That, however, does not mean that your character has to have a life-changing arc. <S> The genius detective <S> Nero Wolfe from Rex Stout novels allegedly hates not only working as a PI (he would rather grow orchids–and he does) but even walking unless it is absolutely necessary (he is severely overweight). <S> He is, however, the best around, and the money allows him to get back to his routine and yes, grow orchids (that is why he has to solve crimes, acting against his proclaimed principles); all the action is delegated to his hitter Archie Goodwin, who is a proactive protagonist and also a first-person narrator of the stories. <S> An attempt to recreate a real person as a life-like character in a story is probably a task, better suited for a biography, but taking the traits of anyone you know, and using them as a basis for further development of fictional characters is what essentially all writers do. <A> There are two semi-nihilists that I am fond of: the Vicomte in Dangerous Liaisons, and Diogenes. <S> The former broke down civilised norms through amoral seduction (his motivation was destruction), whilst the latter is most famous for his juxtaposition to Alexander the Great. <S> They are best used as a foil, either to demonstrate the value of a pedestrian life or the vainglory of the most envied figures.
| You can create any kind of character you wish–you are the author, and this is your story. If nothing has value or meaning, there is no point in creating anything, and, for that matter, no point in trying to convince anybody of anything, including nihilism. A reluctant protagonist is, in fact, a rather common type of a character, often central to the story, whose goal might just be to do precisely nothing and preserve the status-quo. Nero is always reactive , but he is very much a primary (or at least equally important in comparison to the narrator, Archie) character of all the stories in the series–and a title character.
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How to deal with nameless characters? In the novel I'm planning the human characters that inhabit the world are all clones of each other. Man and woman. They aren't given names when born, instead they are given serial numbers that also work like IDs. But given the fact that they still have diferent personalities and many even have different appearances due to tattoos, scars, dyed hairs, etc... How could I deal with them? How would they interact with each other? Aliases are a go, but as society grow numerous also does the necessity to be known in order to be recognized by his or her alias. <Q> Your characters may not have names , but they have to have some identifiers. <S> Seven of Nine, Tertiary Adjunct to Unimatrix 01 means that this drone is the third most important (9 of 9 is themost) <S> but her specific task is teritary to the lead drone (so notsuper critical), and her group is attached to a specific location(Unimatrix 01, the center of Borg "society"). <S> Larry Niven's Kzinti are addressed by their family relationships and then jobs and have toearn a name. <S> In Ayn Rand's novella Anthem, individuals are called by a combination of a word plus a number, andare raised in collective groups. <S> Each individual refers to him- orherself with plural pronouns. <S> In Ira Levin's This Perfect Day, people are using fewer and fewernames; there are something like four names for men and four for womenwhen the story starts. <S> The protagonist's actual name is a string ofcharacters, but his nickname is "Chip." <S> I haven't read it, but in Margaret Atwood's The Handmaid's Tale, the protagonist is "Offred," meaning of Fred, belonging to Fred. <S> Handmaidens are all given designations like this. <S> In <S> The Bees by Laline Paull, the characters (all actual bees) arefrom various groups named after flowers <S> and then given a number; theprotagonist is Flora 717. <S> In The Force Awakens, we learn that stormtroopers are stolen fromtheir families as children and raised in groups, and given onlynumerical designations. <S> John Boyega's character originally had thedesignation FN-2187; it's Poe Dameron who later gives him the nameFinn. <S> People will come up with ways to address one another. <S> You as the author need to figure out how to delineate your characters so the reader can distinguish them. <S> Nicknames, shortened versions of lengthy alphanumeric strings, epithets like The Gunslinger, The Doctor, the man with the thistledown hair — just be consistent in how you address each individual, and you'll be fine. <A> A name is not actually an invariant property of a person or object. <S> A name is an expression of the relationship between a person and another or between a person and an object. <S> Thus the same person may be "mom", "grandma", "aunty", "Joan", "Joanie", "Joan Smith", "Mrs. Smith", "the woman in the green dress", "Smitty", "Junebug", and "234 782 189" in relationship to different people and institutions. <S> Pretty much every modern state assigns its citizens a serial number these days <S> (in Canada we call it a Social Insurance Number), so a state which takes no interest in the subject;s names other than the serial number is not really so far from reality. <S> But people will still acquire names based on other relationships. <S> Names are fundamental to language and our relationships with the world. <S> We can claim and project a name, and we often do, but people will assign a name to us for their own purposes, or select from the variety of names we project. <A> If they have numbers, then the number is effectively a name. <S> But human beings have a hard time remembering numbers. <S> If your characters refer to each other as 1892463, 1984236, 3894361, and 4896324, the reader is going to have a hard time keeping track of them. <S> If it's hard to keep track in a story, that's probably because it would be hard to keep track in real life. <S> Rather than ask, "How can I make this work in my story?", try asking, "How would this work in real life? <S> " If your world was real, how would people refer to each other? <S> If you can come up with something that would plausibly work in real life, it will probably work in the story. <S> If not what we think of as names, they might call each other by job titles or relationships or physical descriptions. <S> Just like we do today. <S> ("Sarge", "Mom", "Shorty", etc.) <A> People will name themselves and one another. <S> It seems to be more or less hardcoded into our DNA. <S> Once you have a concept of yourself, you have a concept of something other than you, and the need for a label to distinguish the two emerges. <S> You could do worse than to check out the animated series <S> Star Wars: <S> The Clone Wars , which among other things spends quite a bit of time with groups of characters who are all physically identical, and formally known only by their ID numbers. <S> They develop individual personalities, decorate their armour to distinguish themselves from one another, decorate themselves with tattoos and hairstyles, and they adopt nicknames - either chosen by themselves, or by their 'brothers'. <S> These nicknames often come from elements of the clone's personality or experiences. <S> For example: <S> CT-5555 is known as "Fives""Heavy" prefers heavy weaponry"Echo" tends to repeat orders for everyone"Dogma" believes what his superiors tell him, and toes the party line"Chatter" was a comms tech"Fixer" was a tech specialist etc... <S> Your clones would likely be in a similar situation - <S> If there's an easy pattern in a person's number, that might be referenced. <S> Some unusual experience could be referenced ("Crock" if someone once stepped on an alligator, for example).
| I'd guess that in real life, people would give each other names of some sort. If they show a particular interest or aptitude in some sphere of endeavour, that would give them a name. Other examples in fiction: Star Trek 's Borg use designations which specify where each drone (individual) is in the hierarchy of its group, and where that groupis attached to. The fact that that people in your story are not assigned a name by the state would actually make little difference to the process by which people assign names to things or accept the names that people claim for themselves.
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How is a dialog interruption actually shown? Let's say two characters are conversing and one character interrupts the other in mid-sentence. How would that actually be shown in dialog? I have seen some use a hyphen at the end of the sentence but I have also seen an ellipsis used as well, but which is the most appropriate? <Q> Not a hyphen. <S> Use an em dash. <S> In LaTeX, use three hyphens (which will be converted). <S> Or, from a character map, copy and paste the em dash. <S> On the other hand, if the speaker is losing the train of thought, or is tapering off, that is shown by an ellipsis. <S> Note that some fonts show a long em dash (full em width), while other fonts show a shorter em dash (maybe 75% to 80% of em). <S> If you find the true em dash to be unattractively long, you might cheat an use an en dash instead. <S> This is technically incorrect, but few would notice in print. <S> In any case, it must be noticeably longer than a mere hyphen. <S> Example, with em dash: <S> "You never—" "Don't give me that rubbish. <S> I'm tired of your constant complaints." <S> Another example of em dash, used as a stronger alternative to parentheses: It was dark — especially for London — and stormy night. <S> Example use of ellipsis <S> : She looked out at the rain, and mumbled to herself, "I wonder if…" <S> EDIT: There is a difference between the en dash (EN) and the em dash (EM). <S> The en dash is used to indicate a range of things (say, between times or dates). <S> Alas, the most common word processor rarely inserts an automatic en dash, but you can insert it by other means. <S> In LaTeX, it is two hyphens, automatically replaced. <A> The choice is stylistic. <S> It's almost always your decision, as the author. <S> Do what you feel would be appropriate and convey your meaning well. <S> However, it goes without saying that some publishers may have a certain way they want you to format your work. <S> Be sure to fit their guidelines. <S> For me personally, I use hyphens. <S> I feel like they work better than an ellipsis, even though I have seen some authors use ellipses. <S> I hope this helped you. <A> Standard punctuation for an incomplete sentence is ellipsis. <S> But don't. <S> Don't have one character interrupt another at all. <S> Dialogue is not speech and the page is not the screen. <S> The page is an asynchronous media. <S> Events do not unfold in real time but in read time. <S> It can take far longer to read the description of a complex event that happens quickly than a simple event that takes a long time. <S> So time based effects, like interruptions, are impossible to dramatize well in prose. <S> Instead, the drama should come through what is said, not the way it is said. <S> As far as is possible, let each character have their full say. <S> If one must interrupt the other, let it be a full and final interruption, a dismissal, not just two people talking over each other.
| In most word processors, you can insert an em dash by using two hyphens (it will be converted to a single em dash). Interruption, either by being cut off, or by a sudden event, is always shown by an em dash.
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How can I describe nervousness? Becoming nervous in the heat of a situation. Perhaps you witnessed something not for the faint of heart. Like, how would I describe shaky legs without being so boring about it. <Q> Well.. There are simple and less simple answers to these kinds of questions that will give you different results. <S> First; the simple : "He/I was nervous"..- Not a lot to misinterpret, but not a lot for the reader to feel either. <S> Second; the less simple : "He/I did this, said this, felt this" - the "this's" in the example above would then be replaced with examples of behaviour that people are familiar with connecting to nervousness: <S> Stuttering / repeating yourself / lacking or missing words <S> quick/uneasy breathing using or positioning your hands/arms/legs <S> differently <S> looking around quickly/without focus paying attention to certain details, either relevant or not sweating <S> the list goes on... @FlyingPiMonster uses most of these in his example in his answer. <S> You can use whichever suits your characters and the situation they're in. <S> When you describe the qualities of an emotion/feeling/state that someone is in, the reader is more likely to feel <S> that emotion, rather than <S> just "know what you mean"... <S> the what makes the character nervous could in this case be what he's paying attention to <S> Perhaps: Think of something that made you nervous - how did you act/react? <S> If you cannot remember how you behave when nervous (It'd surprise me a little, but) ask someone else how they felt and or acted last time they were nervous. <S> Perhaps even ask someone specific that your character may remind you of, if possible. <S> Good luck! <A> If you want to avoid being boring you avoid even alluding to the nervousness at all. <S> Think of some of the things that might cause your knees to shake that have nothing to do with nervousness. <S> Maybe your character checks the thermostat and wonders how the room can be so cold when the heat is set to 75°. <S> Make your character wonder if people are wondering why your character needs to piss so badly. <S> Your character could do something completely out of character, or give in to an old vice, like having one smoke, just this once, because it’s only once. <S> Have your character do something compulsive, like pull out their third stick of gum in 2 minutes, or pull their socks up repeatedly, in hopes that that will help hold them in place. <S> Yet somehow it only makes them itch more. <S> If the tone is right, have your character remark that their legs are as numb as if they’d sat on the john for an hour playing Clash of Clans. <S> One of the most important ways you’ll establish that mythical authorial “voice” is by thinking outside the box. <S> Anyone can convey that their character is nervous by stating that they’re sweating or that their heart is pounding. <S> If you want to reach your readers, make it personal—personal to you, personal to your character. <S> Bring your own experiences into the picture. <S> Most of the time, you won’t even need to hint at the fact that your character is nervous. <S> That should become obvious the moment you write, "He lit up another cigarette,” because you've already established that your character gave up smoking years ago. <A> Spend less time describing the nervousness, and more time describing what is making your characters nervous. <S> Neither of them moved a muscle. <S> Elias could hear his own heartbeat; he could even hear Jamie's nervous breaths. <S> Two sets of footsteps were coming toward them. <S> One was heavy and slow, like an adult's; the other seemed quicker and lighter. <S> (from something I'm writing) <S> In this short paragraph, only one sentence is devoted to actually describing nervousness: hearing one's own heartbeat and someone else's breath. <S> Readers know from that sentence that Jamie and Elias are nervous; there is no need to tell them again. <S> Instead, the rest of the paragraph is about their situation. <S> Why are they nervous? <S> They need to avoid detection, and two mysterious figures are moving toward them. <S> This heightens the tension in the scene and gives Elias and Jamie a reason to be nervous, which is much more effective than continuing to describe nervousness itself. <A> so you have a strong database of ideas. <S> And give every character a different set of reactions. <S> The main character in the novel I'm working on likes to take leaves or flowers and slowly shred them with her fingers. <S> Another character reacts physically sometimes to the point of violence. <S> Others look away from the person they're talking to. <S> There are many ways to show nervousness and also many degrees of it. <S> Being scared can overlap but it's different. <S> Some people are energized by nervousness (I am... <S> it's part of why I love to perform on stage). <S> Others lose the ability to speak or to function or to think clearly. <S> Some will stammer or make mistakes. <S> Still others will behave perfectly normally except for that telltale sign only people who know them will notice.
| Talk to people about what happens when they get nervous
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Is there any standard regarding the minimum length of a novel? I have a plot of a mystery/thriller, and I want to start writing a novel. What should be the minimum length of a novel so that a Publisher becomes interested? <Q> I recommend reading this article: https://jerichowriters.com/average-novel-wordcount/ <S> The author is very experienced and active in the industry, so he knows what he's talking about. <S> He says: "So, the average wordcount for a typical novel is anywhere from 70,000 to 120,000 words." <S> And furthermore:" CRIME AND THRILLER GENRES: <S> Crime novels often run a little longer than women’s fiction, so although 75,000 words is fine as a lower limit, anything up to 130,000 words is standard. <S> Don’t go below 75,000, though." <A> A given publisher might have specific rules. <S> it's not long enough to call a "novel". <S> Maybe a publisher would print a one-page novel as some sort of novelty (no pun intended), but it would be a hard sell, more a joke than a serious book. <S> I'd say in general you'd have to have 30,000 to 40,000 words to be considered a "novel". <S> Anything less than that is a novella or a short story. <S> I'm suddenly reminded of the classic, "Shortest Horror Story Ever Told": "The last man on Earth sat alone in a room. <S> There was a knock on the door." <A> This seems to very widely depending on who you ask. <S> The Science Fiction & Fantasy Writers of America define it as being 40,000 words or more . <S> I'm not a thriller writer, but I have heard on the writerly grapevine that thrillers tend to be shorter than other genres so as to maintain the feeling of tension and allow the book to be read in one sitting (which is an advantage for a page-turner).
| In general there's no hard and fast rules, like a novel must be at least 40,000 words, so if your story is 39,998 words Realistically, if you write a story that is 50 words long and submit it to a publisher as a novel, they're not likely to be interested.
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Do you need to have an introduction at the beginning of every book in a series? A series I am working on deals with an underlying storyline that progresses through each book. I'm afraid of confusing a reader if they decide to start reading a book somewhere in the middle of the series and end up being a bit lost as to what is going on. Because of this, I was wondering if it would be a good idea to have an introduction a few paragraphs long at the beginning of every book explaining the basic plot throughout the series. For example: With the whole world viciously fighting against them, these three teenagers do everything in their power to gradually fix the planet's reopened wounds, while never giving up hope that they may one day see their loved ones again. <Q> If your books are not standalone, a "previously on..." intro is probably a good idea. <S> Also, if your books are that complex, a list of major characters, their relationships, and other pertinent info at the end is often helpful too. <A> Agree with James and Ipsum. <S> I'll just add that, in addition to a glossary at the end with names and terminology, which can be very helpful for complex worlds, <S> the way to do what you are talking about is via exploration of the characters feelings and associations when you meet them in the story. <S> So, instead of "while never giving up hope that they may one day see their loved ones again" as told from the perspective of a third-person omniscient, you can instead start the chapter with John, of of the heros, dreaming about his lost love and waking up with a start realizing that she is not there. <S> You get the same info as a reader, but in a more personal and real way, and as part of the flow of the story. <A> There's no real need to do this. <S> Instead, I've begun by introducing an important character connected to magic (this is in the first chapter), describing only his appearance and not connecting him to mysterious doings, so as to keep the reader interested. <S> Instead of introducing an entire world of magic to begin, I slowly provide information related to it as the series progresses. <S> Again, this has the reader wanting more. <S> The main problem with an introduction is that your reader may skip it, as this is usually little more than an information dump. <S> If your reader skips any part of your book for this reason, they will become confused (although that will be the reader's fault, the reader will still put down your book). <S> But if you feel you need an introduction, then go for it. <S> Just make sure to keep it as interesting as the rest of the book. <S> Also, in addition to Lauren Ipsum's answer, I advise against a 'previously' intro. <S> Again, information dump. <S> What you might want to do instead is, for the first chapter (in every book of your series except the first) <S> , you can talk about what's happened in the previous books and connect it to what's happening in the new book. <S> You should only retell the most important parts of the plot, to prevent reader confusion (for those who haven't read the previous books) but at the same time keep the reader interested, which is very important.
| You want just enough information to orient the reader without spoiling or rehashing the previous book(s). I'm currently writing a fantasy series and I don't have an introduction.
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Longer or shorter chapters? This is not a question asking if I should add more or less to my chapters in terms of descriptions and so on to make them longer or shorter. It's more about grouping an already written story. I'm trying to choose between having a larger amount of short chapters or a smaller amount of long chapters. I want to know which option works better for fiction writers, why, and how it affects potential readers when deciding whether or not to start the book and finish it. <Q> You break up a text, at various levels, as an expression of its cadence. <S> A slower cadence tends to express itself in longer sentences, longer paragraphs, longer chapters. <S> A faster cadence tends to express itself in shorter sentences, shorter paragraphs, shorter chapters. <S> (I say "tends" because I don't think these are iron rules by any means.) <S> Different styles and different genres tend towards different cadences. <S> (That word "tend" again.) <S> Thrillers and crime stories tend towards fast cadence, epic adventures and literary works tend toward slower cadences. <S> There is no inherently right or wrong cadence, just the cadence that is right for the work. <S> The cadence of a work can also change over the course of the story. <S> Sometimes the cadence will pick up towards the climax, for instance. <S> Other works proceed at an even cadence. <S> Cadence is not the same thing as the pace of the action, it has more to do with the feel of the work. <S> No Country for Old Men <S> springs to mind as a work with a fast pace but a slow cadence. <S> Since your work exists already, its has a cadence. <S> You simply need to fit your chapter breaks to the cadence of the existing piece. <A> Short chapters are less intimidating to young readers and provide good stopping points, which allow your spellbound readers to put the book down for the night and get some sleep. <S> Both have their place. <S> It just depends on what kind of story you have written and who you hope will read it. <A> There is a third option, if it is too hard to decide between long and short. <S> This is usually accomplished by having a larger space between two paragraphs and having a symbol (like a flower, sword, or whatever fits the story) separating the paragraphs. <S> This gives a good point for the reader to take a break, if needed, without making the chapter feel too short. <A> Both Henry and Mark are correct. <S> To their responses, I add: Have a look at The House on the Borderland, by William Hope Hodgson. <S> It is now in public domain, so versions are available online. <S> Depending on action and pacing, the length of chapters is very variable. <S> The main part of the book is supposed to be a diary, disovered amid ruins. <S> The first chapter is told by someone who found the diary; it is very detailed and long. <S> In the main part, being the diary itself, the shortest chapter is "Pepper," which is at most two pages long. <A> There are too many of these questions. <S> Chapter length is governed by four elements: scenes, transitions, location switches, time breaks. <S> I have a novel where the shortest chapter is 400 words - a character is falling asleep. <S> Longest chapter is 11,000 words. <S> Every character is in the same location. <S> There is no opportunity to end the scene or switch to a parallel plot. <S> All the characters are being held hostage. <S> There is no opportunity to switch to another 'camera'.
| You could have long chapters, with breaks within the chapters. This is really all about cadence. Longer chapters visually promise a more complex, more immersive read, but also run the risk of dragging down the story pace to the point that the reader just gives up for good.
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What do you do to prevent dips during which you're not writing anything? I'm currently a student and I write non-fiction every day. I've committed myself to writing 1000 words every day, and I am successfully doing this. However, I'm trying to improve a particular aspect of my writing process: almost every day that I write, I write in " bursts " of about 1 to 10 minutes of highly productive writing , during which I'm almost writing non-stop. Then there are these " dips " of about 15 or more minutes, during which I am literally writing not a single word . I know that it is unreasonable to expect to write in perfect uniformity exactly the same amount of words per minute. I absolutely don't have a "purity" goal like that. Nevertheless, I feel that I could really be much more productive, qualitatively and quantitatively, if I could at least develop good habits to diminish these dips (as much as possibly anyway). Those dips also are sometimes a bit stressful, since I'm generally kind of "stuck in my head" at those times, rather than relaxed and in the flow. But that is only a secondary problem, since I'm mainly concerned with improving my productivity and quality of writing. Generally what happens during these dips is that I don't know exactly what to write (though I always have a vague idea), and then kind of get "stuck in my head" about what to write. Often this results in me just "zoning out" without focusing on my writing. What kind of practical techniques or practical advice has helped you to improve your writing process in this regard? Edit : I am already using the pomodoro technique, where I write 50 minutes, and then meditate 10 minutes, then write 50 minutes again. <Q> What you are experiencing is the natural rhythm of human productivity. <S> I think the mechanical nature of the Pomodoro technique is probably unnecessary for most people, who takes such breaks naturally enough anyway. <S> But I can see that it can do a lot of good for people with a false work ethic who won't allow themselves to slack off for hours at a time, despite the lack of breaks having a serious detrimental effect on their actual productivity. <S> In your case (as in mine) your brain is dividing your work time into Pomodoros naturally. <S> You (and I) can benefit from the Pomodoro theory simply by using it to assuage our consciences and reassure ourselves that the rhythm that our brains are imposing on our work is, in fact, a productive one. <S> BTW: During my dips, I visit this site. <A> "Zoning out" is normal, good even, as it shows creativity and imagination. <S> The important thing is finding a balance. <S> When people's minds wander off and they stop focusing on the task at hand, it's usually because of brain linkages. <S> For example, you're writing a scene where someone forgets something, which reminds you of the time when you forgot to close your apartment window, which gets you thinking about replacing them <S> and then you're off. <S> Identifying these linkages helps. <S> Trace back to the original thought to regain focus and reduce mind wandering. <S> Consciously try to increase that ten-minute time frame for productive working. <A> Think about the writing when you’re not at the keyboard; e.g while walking the dog, especially if this immediately preceeds the writing time. <S> Have an idea or three queued up before you start. <A> Well, I've got my own method. <S> It's called Planned Procrastination writing. <S> You may or may not like it. <S> So, I've got A Project to write about. <S> And I also have three writing projects that have nothing to do with Project A. <S> So, if I get stuck and <S> nothing's happening with Project A, I go to Project B, for however long it captures my interest, or alternatively, I give myself 5 minutes to do whatever I can. <S> The 5 minute timer is fun because it creates an artificial deadline! <S> It's like GO! <S> This the time you have! <S> And if things are going well for B, I reevaluate and keep writing. <S> If I run out of steam there, I look back at Project A. <S> If I've still got nothing, I go ahead and jump to writing Projects C and D, real quick. <S> I find that breaks help with creativity, as well as having another task, whatever that task might be, to fill your mind. <S> Other writing projects, or specific things, can fill that time. <S> Even writing exercises or spending 5 minutes on a board like this answering questions. <S> That counts as writing, if that's your goal, you've just got to set an alarm every time you go off task, so you don't wander too far and away from the goal. <S> But if I can get more than one project going at a time, it's ideal for me, especially if they all have different deadlines. <S> Deadlines are good. <A> This is more commonly known as 'writer's block', and the solution is simple
| Write about whatever comes into your mind, until you get your creative juices flowing again. One is called the Pomodoro technique in which you use a kitchen timer to time your work sessions and breaks. : Write about something else, on a separate piece of paper (or separate file if you're typing). There are even techniques designed to help you optimize the use of this rhythm.
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Is it more effective to lead with a physical conflict rather than an emotional one? I currently have the choice of two routes with my novel - to lead with a knives-and-poisons main conflict, with reference to the protagonist's emotional conflict, or to lead with him conquering his inability to manage his peculiarities (OCD, etc) while untangling the plot. I understand that both will influence the other, but is there a best practice with which one to lead with? <Q> The heart of a story is neither physical conflict nor emotional conflict, it is moral conflict. <S> That is to say, it is about the character being made to face a choice about values. <S> Does pride and prejudice win out over love? <S> Does Spiderman save MJ or the busload of children? <S> Emotional conflict results from moral conflict. <S> Moral conflict forces us to pay a price to attain a goal. <S> There is an emotional cost to paying the price and an emotional gain from achieving the goal. <S> Physical conflict arises because two characters have different, non-compatible goals. <S> This poses another moral conflict -- am I willing to engage in violence to achieve my goals. <S> So, in the hierarchy of conflicts, moral conflict is at the top, emotional conflict <S> is in the middle, and physical conflict is at the bottom. <S> Physical conflict alone is not very interesting. <S> The interest comes from the emotional conflict and, more fundamentally, the moral conflict. <S> This does not mean that you have to do a full exposition of the moral conflict, followed by a full exposition of the emotional conflict, followed by a full exposition of the physical conflict. <S> But it does mean that the reader needs to see at least the seeds of the moral and emotional conflict before you can expect them to engage with the physical conflict. <A> I think that depends entirely on your story and the initial mood you're trying to establish (both for the story and between the characters).Starting with a physical conflict is a fairly easy way to quickly draw your reader in. <S> It's the cheapest way of creating dramatic circumstances <S> : Raise your reader's pulse quickly in order to demand their focus. <S> It's harder because this way you need to convince the reader that this is both dramatic and interesting, while two dudes fighting or a battle scene does that almost implicitly. <S> So what should you start with? <S> Well, what is the tone and speed of your story? <S> Start high quickly (and then take the reader on rollercoasters) or slowly build up and increase tension over the course of the first act? <S> The final answer to your question is: There is no "best practice", just what suits your particular story progression. <A> I think the really important conflict is between the world inside a character's head and the world outside of it. <S> Since "the world outside of it" is usually shaped by other characters acting in accordance with their own model of the world, this almost always has a moral dimension (because that model of the world will include a model of how people should behave in it), a physical dimension (because they will physically interact with things) and an emotional one (because they will have invested their emotions in aspects of their world model). <S> My view is that a story is, at its simplest level, about a character encountering something that doesn't mesh with their understanding of the world, and having to make a choice between changing the world or changing themselves. <S> A story generally ends when the relevant aspect of the world and the relevant aspect of the character's understanding of it are in alignment. <S> So, think about who your character is, what they believe and what they want, and think about the sort of conflict that really defines the start of their story arc. <S> Whether that ends up being physical or emotional is usually irrelevant; it's how it relates to the overall story that really matters. <A> I think that depends entirely on the nature of the story. <S> At the extreme: If the story is all about a person's emotional struggles, throwing in a gratuitous fight scene to try to grab the reader's interest seems counterproductive to me. <S> It will mislead the reader about the nature of the story and put him in the wrong frame of mind. <S> Even if the story includes both physical conflict and emotional struggles, if it's mostly about the emotional struggles and the fighting is an outgrowth of that, starting with a fight scene might be a way to begin with high drama, but it could also be misleading and distracting. <S> I suppose it's easier to grab a reader's attention with a fight scene. <S> You don't need to know much about the characters to understand it. <S> A scene about a character's emotional struggles may require some background. <S> But not necessarily. <S> A story that began, "Bob decided that his only choice was to kill himself" would probably grab the reader's attention without knowing anything about Bob. <S> Indeed if I read that as the first sentence of a story, I think I'd immediately be asking, "Why does Bob want to kill himself? <S> What happened to him? <S> " etc. <S> I'd add that in my humble opinion, fight scenes and car chases and the like work very well in movies, but <S> not nearly so well in books. <S> It's hard to capture the action and tension with printed words. <S> Not impossible, but hard. <S> I often find myself skimming over fight scenes in books with a "yeah, yeah, <S> I get it, they had a fight".
| If you start with an emotional conflict or backstory, you gamble a little with their interest in that plot line.
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How difficult will writing a novel be for someone without formal training? I almost asked the question "Can someone without formal training write a novel?", but the answer of course is yes. To get a better answer, I ask the following question: How difficult will writing a novel be for someone without formal training? I'm not talking about a best seller, but just something from start to finish that is readable. I've taken basic writing classes in college and high school, as well as some technical writing, but I've never formally taken any classes in creative writing. I've written the casual blog post for a personal page, but that is usually about current events or personal projects. I know that as you write, you normally get better at it, but should I postpone starting a long story and focus on some extra classes/self-help books? <Q> It's impossible to say how hard it will be for you , given how personal a process writing is. <S> My suggestion would be to first try writing a long story or a novel, and then, if you notice things that are missing, or that gave you special trouble, or if you don't get a good reaction, then seek out a class or a course or a self-help book that will fill the gap. <S> The problem in any kind of artistic studies is to gain technical skills and exposure to good examples without losing your own voice and vision along the way. <S> Getting some work under your belt first might help. <S> There's also a nearly infinite number of books and courses about writing, so there's a danger you could postpone forever. <A> They are written by those who are prepared to work hard. <S> They are written by those who want to succeed. <S> These things have nothing to do with formal training. <S> In fact, the best formal training I am aware of demands that you have written at least one novel before you enrol. <S> They assume you have tried, failed to a point, picked yourself up, and finally finished. <S> Don't postphone writing a long story until you have read about novel writing. <S> Instead write, edit (read about writing so you can get some clues about how to improve your writing if you have time) and write some more. <A> I jumped into writing my first novel after a few flash fiction pieces and a comic book script. <S> It won't be easy, but it's not easy for anyone. <S> ~90,000 is a lot of words. <S> You have to learn to enjoy the process. <S> A 1000 words a day gets your first draft finished in three months. <S> 250 words a day gets you done in a year. <S> That's the hard part, physically. <S> Revising, workshopping, submitting that's the hard part, emotionally. <S> But I would recommend writing a few short stories first, to learn the craft. <S> I think I would have been better off if I had.
| The 'How difficult ...' question is impossible to answer, but consider that most novels aren't written by people with formal training: they are written by those with the motivation and persistence to actually complete a project.
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Is it permitted to mention a real life work of fiction in your story? I am working on a new project that draws influence from a currently running television show. What I want to do is make a reference to that show in my work. Almost as a joke to say, "We're nothing like that show." Is it appropriate to use the name of that show in my work? Could there be a legal issue down the road? Is it ethical to drop the name of something that inspired the work itself? Thanks! <Q> What you cannot do is quote the work. <S> Or make it so close that it borders on plagiarism. <S> "OMG! <S> We are on an island! <S> This better not turn all weird like Lost! <S> Gah!" <S> is perfectly fine. <S> I once wrote a road story based on my playlist and how it matched the mood of where I was. <S> I could not use the lyrics themselves without obtaining the rights from the writer, but the titles and band names was perfectly fine. <S> If you have any doubt, consult an attorney. <A> Answer: <S> Yes Examples off the top of my head: 1. <S> Jim Butcher's Dresden Files series references the Lord of the Rings, on multiple occasions, as well as many, many other things. <S> 2. <S> R. A. Salvatore's Spearwielder's Tale likewise references the Lord of the Rings. <S> As general rule, rules of plagiarism and copyright do not distinguish between a fictional and non-fictional work, so if you can do something in a non-fiction work (e.g. say "I love Stargate SG-1!", in a discussion or review), then you can do the same in a fictional work, <S> (e.g. have a character exclaim " <S> I love Stargate SG-1!"). <A> You're probably worried about "defamation" when you fear "mentioning" a real life story Defamation occurs when you say something that is: certifiably untrue as a statement of fact, not opinion <S> that is highly offensive to a reasonable person. <S> Your statement, "we're not anything like that show" doesn't meet any of these tests. <S> It can't be proven or disproven (not certifiably untrue), because it is a statement of opinion, not fact. <S> Nor is it highly offensive to a reasonable person (everyone has their own view of what is like or unlike something). <S> You would be on shakier ground if you said something like, "Show X is pornographic. <S> " That is something that: can be disproven can be taken as a statement of fact would be offensive to most people. <A> The only real difficulty is that it can cause your work to appear dated. <A> Not only is this acceptable, but you should. <S> Sometimes, mentioning the name of a book, a TV show or a brand can be a powerful way of making the reader feel like they are in the middle of the story. <S> Remember that you should always try to make the reader feel what the characters are feeling. <S> Use words that make the reader imagine the sounds the characters are hearing <S> , the smells they are perceiving, etc. <S> For example, something like " <S> She felt dehydrated. <S> She opened a can of Coke and gulped the sugary, ice-cold liquid so avidly that the bubbles hurt her throat," is 1000 times more evocative than: " <S> She was thirsty <S> so she drank a cold soft drink very fast." <S> However, note that this only works well if you can be sure that most of your readers know the mentioned brand and thus can relate to what they are supposed to feel.
| The answer is YES, you can do so. Basically, it is permitted to mention a real life work of fiction in your own work of fiction. What you suggest is actually a very time-honored form of homage.
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Is it okay to keep my drafts unread by others? I got the idea of writing a novel, I'm just afraid to show it to other since It's not yet done. Is that okay? thanks <Q> Yes. <S> In fact, it's better that way. <S> But when you do, have a thick skin about it. <A> It is your choice. <S> But I would recommend you only show a draft if it is your latest draft. <S> However, keep all drafts if you need to go to court for any copyright issues (for further explanation on copyright issues, see my answer to this question . <A> There is an anecdote about Henry Kissinger from when he was a professor. <S> At one point a student had handed in a paper, and had dropped by his office to receive the graded result. <S> "Is that the best you can do?" <S> Kissinger said dismissively, handing the paper back. <S> "No, the student sheepishly admitted. <S> "I suppose there is quite a bit that could be better." <S> He received the paper, went over it, and handed it back in later. <S> When he visited the professor's office to receive his grade, the professor was almost as harsh. <S> "I can't believe this is the best you can do," he said. <S> Again, the student retreated to his own place, and went over the paper again, finding a few areas that had missed his previous examination. <S> He corrected these and handed the results in to the professor. <S> "Are you sure this is the best you can do?" <S> the professor said. <S> "Yes," the student said. <S> "I have gone over this paper twice. <S> I cannot find a single weakness in any part of it. <S> This is the best I am capable of doing." <S> "Good," Kissinger said. <S> "I'll read it." <A> If you don't feel ready to show it to other people, there is still someone who can take a critical look at the work and offer feedback: your future self. <S> If you leave the first draft of a novel alone for six months, say, but spend those six months continuously working on your writing (and reading, and reading about writing etc), you will be a better writer and a more capable critic by the time you re-read the novel. <S> Your future self could be just as valuable a critic as a different person. <S> This will also help your ability to take a step back from your own work and look at it without the emotions that come from being too involved in the work. <S> If you find that you are able to say 'what the hell was I thinking?!' <S> when you read a particular section, then you will know that you are now better than you were when you wrote the novel. <S> You can repeat this cycle a couple of times until you feel more confident that the work has improved, and at that point you can bring in other readers to give you their views. <A> In my own writing life, I've found my small group of trusted readers to be more beneficial than my own self-critique. <S> They find a lot of issues I've been staring at for weeks without seeing: rough spots where characters are ill-defined, gaps in the plot, slips in characters' voices, etc. <S> And of course, they'll note what's working well. <S> Even in early, rough drafts they'll see themes and metaphors that I hadn't discovered myself, discoveries that sometimes steer the story in new, better directions.
| Keep it to yourself until you've revised and revised and revised before you show it to anyone. So yes, it's okay to keep your drafts to yourself, giving it to a select few will benefit you and your work a great deal.
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A subplot becoming another novel I'm writing a novel where I imagined two or three subplots (or storylines).Now I found that one of the subplots has evolved and grown so big that It can be an independant plot itself and could (or could not) lead to another novel. It's a bit annoying for me, because now I have to decide whether I have to separate this subplot from the first novel (removing a layer of narrative) to write another one (which actually would be a short-story) or just let it and use it to enrich my novel. Any advice on what I should do to decide would be welcomed. <Q> Subplots are generally thematically related to the main plot. <S> They provide thematic elaboration or counterpoint to the theme of the main plot. <S> If they are just more business, then they should go. <S> (Whether that is to another work of not is a different question entirely.) <A> Let me remind me you that your final novel does not need to include every bit of information you have compiled. <S> The fact that you have additional information (like backstory) is beneficial to your novel even if you don't include it, simply because it's going to allow you to do a better work rounding up your characters. <S> Thus, even if you don't include it, that extra work is not lost. <S> What I would do in this case: I would concentrate on the main plot and include only as much of the subplot in question as is necessary to enrich the main plot. <S> Later, when a complete draft you like is finished, you can still decide whether to include more of that subplot or not, depending on the total length. <S> What you don't get to use of the subplot doesn't need to be published right away. <S> Just keep it in your drawer until there's a suitable occasion to use it. <S> Who knows what the future holds! <A> If timing of the event permits, that's an excellent opportunity to create a hook for a sequel. <S> Trim the plot to "slim" level in your current novel, close the two other plots properly, leave the third plot at a key point, and migrate all the rest to the sequel. <S> This won't be possible if a late point of the "big" plot is essential to the resolution of the current novel. <S> In that case you will need to carry it through... or split your novel into a trilogy: part 1: introduce and expand all three plots, part 2: "the big plot" nearly to resolution, part 3: bring back two remaining plots and bring the grand finale. <S> Regardless, yes, if one plot totally dominates the story, to the point that the others can't get enough spotlight time, but show up rarely, it becomes frustrating. <S> It's definitely better to isolate it some way, so that there's a clear segment where it's the only plot, and a clear segment where all plots get the same level of attention.
| If your subplots are doing that for you main plot, then they are enriching the reader's experience and they should stay.
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Length of Children's Books I have just completed my first manuscript for a children's book. It is a long traditional bedtime story to be read over several days or weeks even! I don't really understand why I must limit the number of words. Please can anyone advise?Many thanks. <Q> Because bedtime stories are about getting children to fall asleep and no parent wants to be reading until 3am. <S> Publishers impose word restrictions for two basic reasons. <S> A new author represents are risk. <S> Bigger books cost more to produce, so the risk is higher. <S> Restricting word count reduces the risk of taking on a new author. <S> There is a limit to how long (or short) of a book a reader is willing to buy on particular subjects. <S> Publishers know this. <S> (It is their business to know.) <S> They won't publish things that are too short or too long to sell. <S> They will publish things are in the sweet spot of length for a particular genre. <S> (And if you go through a bookstore you will see that there is considerable uniformity in the length of most books in each section.) <A> I've bought a few books for young cousins that are collections of stories to be read around the year... or simply anthologies of stories under a certain theme (princesses, giants, whatever). <S> Parents like it because one book will work for many nights and many stories. <S> My suggestion is to present your objective for the story in the title, eg. <S> The 1001 nights bedtime story. <S> Then clearly state that each chapter is for one night (and give it an ending that isn't a real cliffhanger <S> - no one is going to leave the chapter for the next day if it's a real cliffhanger). <S> You could have an entire page in between chapters with a picture of what happened in the chapter that has just ended to add a physical barried in between chapters. <S> Another way to make it work would be if each chapter is a one-day adventure, so you could tell the child this is what happened to [protagonist] today. <S> I can't wait to see what will happen tomorrow, can you? <S> Well, we won't know till tomorrow night. <A> I am a children's book illustrator and a member of The Society of Children's Book Writers and Illustrators. <S> We recently had a workshop on what children like and the age level of each kind of children's book. <S> Also, children are reading at a much earlier age. <S> Picture books are mostly for the 3 to 4 year old age group. <S> the 5 to 7 year olds are already reading easy chapter books on their own. <S> Maybe your book would make a better chapter book. <S> The longer storybooks of my generation are in short supply. <S> I think reading to children at any age will make them better students and readers. <S> It exposes them to situations outside the home and introduces vocabulary.
| The reason there is now a loose publisher/agent imposed word limit on most picture books is children have a much shorter attention span than they did in previous decades.
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What makes a personified force of nature? You guys may have heard this term before. I often see critics talking about it in some Studio Ghibli's movies where the reviewers say that the antagonist is the force of nature itself. But I also see stories where people say that the force of nature is personified. It is said that Chigur from No Country for Old Men is a force of nature antagonist. It is said that some antagonist robots from Isaac Asimov's stories are forces of nature. It is also said that the Chandrian from the Kingskiller chronicles is a force of nature antagonist. I got these few examples which I dont know if they are pure opinion-based visions or not. My question cannot be more simplified than this: What makes a personified force of nature? This question may involve these ones to incite imagination in your answer: He/she should be antagonist all the time or not? What kind of person he/she would be? Why he/she would act the way he acts? How powerful should he/she be to be considered "a force of nature"? I know that the question sounds simple and that the answers might be huge, but this is a topic I would like to see being answered with different visions. I think that the core of the question is in the word "MAKES." It makes the question to be more specific and have some good answers for it too. PS: I'm new to SE and I dont know if my question is good or clear enough. I shall be reading your feedback in the comments if you guys need anything from my question. <Q> In this context, I would take it to mean someone who cannot be reasoned with. <S> When dealing with a mountain or a rainstorm, you can't reason with them or reach a deal or a compromise with them. <S> When you are dealing with a normal human being, on the other hand, you can reason with them or make a deal with them. <S> To describe a person as a force of nature, is to say that you can't bargain with them or reach a deal with them. <S> They are as implacable as a mountain or a rain storm. <S> The term is used in much looser sense as well, to describe someone of great energy or abundant personality, but I think it is the sense described above that most likely fits the intent in the examples you cite. <A> The key idea here is can't be controlled because, typically, it's too strong . <S> When referring to people as "forces of nature", that's still the key idea: a strong person that defies societal rules (and, therefore, can't be controlled by human society). <S> I tend to see characters that are 'forces of nature' more as protagonists than antagonists: they typically identify a social problem and fight against it. <S> Society may try to force them to conform <S> but they still carry on until they manage to reach their goal. <S> It's not so much about physical powers or strength, but rather inner strength. <S> The power to force one's way against everyone else. <S> It requires a deep faith in the righteousness of one's path (or an incredible level of stubbornness) and the capacity to suffer for a future greater good. <S> Of course the phrase can also be applied to people who are simply unstoppable: they want something for themselves (or their family / people / country / etc) and will stop at nothing (including atrocities) to get it. <S> Such characters can still be ready to sacrifice themselves for their family's greater good, for example, ot they can be spoilt little brats that will step on anyone who's in their way. <S> In Mononoke Hime , for example, the fight between the animal-gods and the humans can be seen as a fight between nature and humanity and both San and Ashitaka become their representatives, although breaking away from the blind conflict and searching for a balanced end to it. <A> The traditional "man vs nature" plotline is animated by the struggle of a person or group of people against an implacable, depersonalized force of nature. <S> The flood, or tornado,or hailstorm, or fire can't be reasoned against, it isn't out to get the protagonists, and it cares neither if they live or die. <S> This typically leads to a very different kind of story than one with a human antagonist. <S> It's possible, however, to have a book with a human antagonist, but <S> a plotline that is closer to the "man vs nature" archetype. <S> There is no reasoning with this antagonist, he or she is implacable, relentless but possibly disinterested (not personally invested in the outcome). <S> There is no meaningful relationship between the protagonist and the antagonist. <S> Inspector Javert in Les Miserables and the biker from hell in <S> Raising Arizona are two figures that come to mind in this light. <S> Both are clearly human beings that do interact with the protagonists at various points, but in the context of the structure of the plotlines, they arguably operate more as "forces of nature."
| The phrase "force of nature" refers, properly speaking, to a natural phenomenon outside the control of human beings. Talking about Studio Ghibli films, I'd say the characters are sometimes less 'forces of nature' as I mentioned above and more 'representations of nature'.
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How to casually reveal the relationship of two recently introduced characters? I have two characters near the beginning of my story, who are brother and sister. I want the reader to know right away, as the two are talking (they are alone), that they are brother and sister, but I'm not sure how to do this naturally without it coming across as forced. How would two siblings address each other in a way it would automatically reveal their relationship? Could I write something like: "Brother... are you sure we're on the right path?" Or is that too "unnatural"? Would most siblings refer to each other by name? And to make the answers more universally helpful: what about other types of relationships (married, friends, associate)? <Q> All you have to do is include the word "mum" or "dad" somewhere in the conversation. <S> "Dad bought another car." <S> "Again? <S> What's wrong with the last one?" <S> She grinned. <S> "It didn't sufficiently misrepresend his dwindling masculinity" Edit: Something like "She looked at her brother" doesn't have to sound forced. <S> Think it of as a weaker version of "She couldn't believe her own brother just said/did that". <S> If the brother does something unexpected first then this is appropriate. <A> The answer to this is crushing simple. <S> You tell us that they are brother and sister. <S> " <S> Pass the butter," Pamela said. <S> "Get it yourself," her brother replied. <S> Don't try to slip information into dialog that naturally and properly belongs in narration. <S> It will always sound forced and unnatural and there is no earthly reason to do it. <S> If you are doing this in service of "show don't tell", learn a new rule: <S> Show when appropriate. <S> Tell when appropriate. <S> In a screenplay, this would be a genuine problem. <S> One of the advantages of the novel format is that you don't have to jump through hoops to convey these simple pieces of information. <S> Take advantage of the liberty that the form gives you. <A> While not all siblings refer to their siblingness, it's a common enough thing to let you work something in that will sound natural: <S> Not the first time I've wished I'd gained a little sister instead of a little brother! <S> Wow, you look so much like Mum with your hair that way <S> I talked to Dad about next week, <S> and ... Are you sure we're related? <S> Sometimes I can't even believe you're my brother <S> Tell that new girl that if she breaks your heart I'll be all over her in full big-sister mode! <S> And so on. <S> While some of my siblings do call me by a sibling moniker ("Hi, big sis, how's it going?") <S> most don't <S> and I think it's the least natural approach to showing this. <S> Steve's phone rang. <S> "Can I call you back? <S> I'm visiting my sister at the moment." <S> Hi Jane, have you met my sister, Elaine? <S> The lady at the store assured me that little sisters love it when their big brothers bring them chocolate.
| Failing that, just give one of them a chance to talk about the other with someone else.
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Can I have a character make a quote from a real life figure? Can I have a fantasy character make a quote from a real life figure? For example, can I have a villain make a statement spoken by let's say, Adolf Hitler? <Q> I would not do that, in general. <S> For example, see this article: http://www.latimes.com/nation/la-na-mlk-family-20150119-story.html <S> The point is that not only do the originators often sue, the copyright holder may be heirs, who like to sue. <S> It is a matter of powerful them versus little you. <S> And, as I noted in a comment above, the copyright for Adolph Hitler's Mein Kampf was still active (in Germany) until 2015, 70 years after its author's death. <S> I have no idea who in Germany retained the copyright (thanks to comments below: Bavaria did). <S> So, couldn't you just write something else? <S> To my knowledge, the only possible exception, at least in the USA, is that the on-duty actions of government employees are public record. <S> Thus, for example, photos of wildlife taken in an official capacity by the wildlife service can be freely used (so I am told; I am not an authority). <S> Presumably the same applies to statements made in an official capacity by politicians; but it might not apply to campaign statements, which are not made in an official capacity. <S> Edit: Now to be more helpful... <S> Many books have one or more "epigraphs. <S> " You can look that up, with many examples, in places such as Wikipedia and elsewhere. <S> An epigraph is a quote from something else (the quote may also be fictional). <S> But you can use epigraphs from Shakespeare, the Bible, Nineteenth-Century writers, and even some from the early Twentieth Century. <S> You can also include a quotation in the form of speech, thus: "Ya, know, we had to read some Plato for the freaking Lit class. <S> Like I care. <S> But the guy had a few good points." <S> " <S> If you say so. <S> He's, like, old. <S> Dead, too, maybe." <S> "Seriously. <S> But for instance, here's what Plato had to say about (some topic). <S> He says, '[now you insert a direct quotation from Plato.]' " <S> That's just the concept. <S> Real writing would require more delicacy, or it risks sounding preachy. <S> A better approach would be to have the character paraphrase Plato, maybe even misunderstand, using contemporary natural language. <S> That would not only tell the reader something about Plato, it would give us insight into how the character thinks. <A> Can I have a fantasy character make a quote from a real life figure? <S> Leaving aside the legal aspect of it, why in a (secondary) world would you want to do that? <S> I do enjoy his stories, but I feel extremely uncomfortable every time I see the direct quotations with the proper attribution to their authors, for they immediately kick me out of the world he is building. <S> So, couldn't you just write something else? <S> What @RobtA said... <A> Of course you can. <S> Huge chunks of modern dialogue are based on samples. <S> You will use expressions that you've no idea of their origin. <S> Notwithstanding that a huge proportions of modern language originate from Shakespeare hundreds of quotes are unoriginal and re-quoted regularly. <S> "Now I am become death . <S> . . <S> " <S> "Float like a butterfly . . ." <S> "Ask not what your country can do for you . . ." <S> "I have a dream . <S> . . <S> " <S> "It's one small step for me . . . <S> " <S> Even advertising slogans fall into common usage. <S> "Just say no." <S> "I've fallen and I can't get up. <S> " <S> "Have a Coke have a smile (and STFU). <S> Of course if you dump 27 pages of somebody's speech into your story the copyright holder may take issue. <A> At least in US, the answer is - " <S> Yes you can, but prepare to get sued" <S> The biggest question is whether quoting falls under "Fair use" concept. <S> Generally, you are not protected if you are using other's words in your own work of fiction. <S> However, if you are using only well-publicized phrases, a chance to get sued is really, really low. <S> https://janefriedman.com/the-fair-use-doctrine/ <S> If a character from fictional world starts reciting real life figures, reader would immediately starts wondering about connections between the worlds. <S> And you better have a good explanation for it.
| It comes under "fair use". Although some famous books used epigraphs from contemporary (copyrighted) sources, there is no right to do that: It would have been with written permission from the copyright holder, which a small, unknown author is unlikely to get. Joe Abercrombie often pre-pends his book parts with quotes from real-life politicians and philosophers (even the titles of The First Law trilogy are partial quotes from Homer, Heine, and Louis XIV). You should also consider how this quoting can affect your story.
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Can success create its own crisis? I am writing a story with a three crisis structure. The first is an external crisis that has the hero rushing to the rescue of the heroine. Then their relationship develops at a brisk pace, in the manner of "too much, too soon." The novelty wears off, and one or both recoils at seeing the other "real person," creating the second crisis. After they are reconciled, they make it towards the top together, and this causes the third, decisive crisis. One wants to continue reaching for the brass ring, and the other wants to "kick back, relax, and take some time off with someone I love," basically two conflicting goals. Do I need an external crisis for either the second or third crises? Or is it plausible that the characters run the risk of being victims of their own success? <Q> Oh, goodness yes! <S> First, your idea of conflicting goals is wonderful. <S> Here are some additional ways success can lead to crisis (which may or may not apply to your story): <S> They become cocky, thinking the success was entirely due to their skill or other personal attributes. <S> Success creates pressure to repeat their performance, and they fear that their success was a fluke. <S> Lots of ways to react to that pressure, some of which lead to crisis. <S> Having been successful at one thing, they now attempt a more difficult thing (with higher stakes). <S> The people and world around them adjust to their success, creating an environment where their successful strategy will no longer work Their success invites attention of a kind they are not prepared to handle. <S> Competitors. <S> Threats from people damaged by their success. <S> Glory seekers. <S> People who want to knock them down a peg. <S> … probably a lot more I haven't thought of … <A> I think this is plausible. <S> Just because a conflict is internal (or between two protagonists, rather than hero vs villain) doesn't mean it isn't an important or engaging conflict. <S> The important thing is that readers have to care about the people involved in the conflict. <S> This, not fast-paced action scenes, is what makes conflict appealing: <S> Something bad is happening to a character we like, and we want to know how the conflict ends. <A> YES Success creates conflict. <S> Here are a few examples just off the top of my head. <S> Sibling rivalry: when one sibling succeeds a lot and one does not,tensions arise The need to repeat the exploit, to top the current high, addspressures both internally ( "I must remain the best" ) and externally( "Buddy, you were just lucky" ) <S> Success does bring some measure of public exposure. <S> While your MC maybe good at -say sports- <S> he may be terrible at facing the camerasafter the deed. <S> Success breeds envy and from there jealousy.
| Success breeds pride and from there overconfidence and contempt.
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Is stating the feeling in the action that describes it a sign of bad writing? This is a bit hard to explain so here's are are two examples: She let out a sigh of relief . He arched an amused eyebrow. My theory is this: you only need to directly state the emotion when the action doesn't describe if well or clear enough. Maybe I'm wrong? <Q> In real life, we experience emotions ourselves and we observe them in others. <S> Thus some emotions are observed but not felt and that is fine. <S> As far as felt emotions are concerned, we feel emotions in response to events. <S> We do not feel an emotion because we are told to feel it. <S> Felt emotion, therefore is created by the events of the story. <S> If you want the reader to feel something when a particular event occurs, then you have to set it up properly as that they feel that emotion. <S> There are two ways to deal with a seen emotion. <S> One is to describe all the symptoms of the emotion. <S> The other is to state them as you do in your examples. <S> Hard core show don't tell people will tell you that you should never name them, but the problem with this is that not every emotion is worth an exhaustive description of all its symptoms. <S> And in real life, we don't tend to stand and puzzle out someone's emotions symptom by symptom. <S> We recognize them in a glance. <S> Thus a blow by blow description of the symptoms of an emotion is not really true to how we read people in real life. <S> Sometimes it is the right thing to do, particularly where we may feel an emotion in response to the emotion the character is experiencing. <S> But often is breaks the flow of the narrative is simply not true to the instant reading of emotion that we do most of the time. <S> To put it another way, sometimes the right thing to say is: <S> The sky began to redden behind the mountains to the east and slowly the stars faded and inky blue brightened into periwinkle as the first flash of the sun broke the horizon painting the landscape <S> a fiery orange stabbed through with sharp shadows. <S> And sometimes the right thing to say is: <S> At sunrise John set out for Phoenix. <S> It is no different for emotions. <S> There is a time to describe in detail and a time to mention in passing. <S> It all depends on their significance in the moment. <A> The words relief and amused might or might not be helpful, depending on what context is available at the time. <S> If the "sigh of relief" line is the first line in a scene, then the phrase of relief is a useful, efficient way to distinguish a sigh of relief from a despondent sigh or an annoyed sigh. <S> Without it, the reader doesn't have a clear picture of the mood and will have to catch up as you dribble out more information. <S> This could be jarring if your reader's initial guess is wrong. <S> But if using a two-word modifier to tell instead of a contrived sentence to show gets to the action faster, I'd tell. <S> On the other hand, suppose the "amused eyebrow" line is in the middle of a dialogue in which the other character has just said something amusing. <S> Then the reader will naturally picture an amused eyebrow arch instead of a confused or a quizzical one. <S> Though the action alone might have been ambiguous, the action in context was clear. <S> Describing the arch as amusing would then be a bit clunky--an extra word to say what the reader was already picturing anyway. <S> So I might modify your premise to this: You only need to directly state the emotion when (a) neither the action nor the context describes it clearly enough, and (b) the extra words required to show the emotion indirectly would disrupt the flow of the story. <A> In the words of a teacher of mine, it depends. <S> Sometimes even opposite ones. <S> Therefore, it's often important to refer them. <S> What one should avoid is to state emotions flatly or repeatedly. <S> One technique is to use scenarios that evoke the emotion you want (eg. <S> dark rooms to evoke depression). <S> Also, you can use figures of speech to transmit them. <S> In Portuguese, a famous example is 'smoking a thoughtful cigar' (from a novel studied in high school literature classes). <S> Of course it isn't the cigar that is thoughtful, but the person smoking it; yet using such figures will help you to introduce the emotions more subtly. <S> Again, one mustn't overdo it. <S> Once it has been stated that a character is 'thoughtful', the ensuing actions (or lack thereof) should be more than enough to keep the sense of thoughtfulness.
| Generally speaking, the actions should convey the emotions, but let's be honest: an action can signify different emotions. Yes, some people would say that it violates the "show, don't tell" mantra.
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What is the difference between Literature and entertainment literature The question grammar for describing plots had a few comments that touched upon the differences between literary novels and entertainment novel which made me think. So I searched the SE for any previous questions pertaining to the difference between the two and found what is literary fiction? , which collected answers that, while interesting, were mostly opinion based. So I ask: What is the difference between (capital L) Literature and entertainment literature? Please note: Let's try to avoid value judgements (just because some books within both categories may be utter rubbish, that does not value the category itself has greater or lesser value) I predict some of you will mention genre, but there are canon literature books that are also genre (Frankenstein is horror, Ishiguro's Never Let Me Go is a dystopian sci-fi fantasy, etc) I've been thinking over the comments and answers which have led me to a better understanding of what I'm looking for. The fact that there isn't an authoritative definition of literature and literary works leads to many definitions (academical, commercial, popular, ...). Therefore I'll try to clarify some working definitions for the purpose of this question. literature / literary novel = a genre (that may overlap with other genres, just like romance can overlap with sci-fi) Literature = a novel (because we're mostly dealing with novels here) written within any genre (sci-fi, romance, literature, mystery, ...) that is recognised (usually after some years, if not decades) to be above its contemporary works because of (elusive reasons). Now say you've been asked to organise a workshop for aspiring writers who long to create an elusive work of Literature in their own preferred genre. The first point of the workshop is precisely to understand what separates Literature from all the rest (while the rest includes from works ranging from terrible to fairly good or even overall great). So, what are those elusive reasons that can have a piece of work in whatever genre stand out above everything else? <Q> Books are classified for various reasons. <S> The word literature is used in more than one classifications scheme. <S> For the purpose of selling books, "literary fiction" is a genre like any other. <S> Genre is sometimes thought of in terms of subject matter, but it would really make more sense to think of it as a kind of contract with the reader, a promise to deliver a certain kind of pleasure. <S> Take science fiction for example. <S> You are not likely to find Mary Doria Russell's The Sparrow , Doris Lessing's Canopus in Argos , or C.S. Lewis' Out of the Silent Planet , shelved in Science Fiction, even though they are all set in space and on other planets. <S> They don't deliver the kind of pleasure that typical sci fi readers are looking for, and are more likely to be shelved as literature. <S> It may cover the subject matter of other genres but with a different focus. <S> Academically, Literature seems to be more a function of time. <S> Literature is the classics, though I am not sure this distinction necessarily holds any more. <S> Personally, I draw a distinction between Literature and Pulp based on whether the work is morally serious, by which I mean whether it attempts to portray the human experience as it really is, of it is portrays it aspirationally, as we would like it to be, not as it is. <S> But I think you will find that there is always a value judgement involved in the use of the word literature. <S> It is fundamentally about worthiness and people will clearly disagree about what constitutes worthiness in art. <S> At best you can expect to get a definition that represents the views of a particular school of thought, not one that depends solely on concrete observable characteristics. <S> It is fashionable today to doubt the viability to aesthetic judgements. <S> They are fundamentally not scientific and it is fashionable to regard any judgement that is not scientific in nature as meaningless. <S> I am not of that school, but I recognize that in modern parlance that pattern of thought essentially reduces all aesthetic judgement to mere opinion. <S> It is up to each of us to decide if we grant them more credence than that. <A> I think it comes down to the percieved effect of the work. <S> There's an assumption (rightly or wrongly) that "literature" should do you good in some way, whereas "entertainment" doesn't necessarily have to, as long as it's pleasurable to read. <S> There's a sense (sometimes unspoken, sometimes not) that people should read literary works, that they might become better people by doing so. <S> Thus, things that used to be regarded as "genre" or "entertainment" fiction can eventually transform into "literary" works, because over time they come to be seen not just as works that are pleasurable but, for whatever reason, also as works that will have a lasting positive impact on the reader. <S> I would argue, however, that "literary fiction" and "literature" are not necessarily the same thing. <S> Lately, "literary fiction" has become a genre of sorts, in that it tends to denote works with a specific set of qualities. <S> This sort of fiction is generally somewhat realistic, generally focuses much more on internal than external conflict, tends to place heavy emphasis on the beauty and/or significance of its observations, and tends to be quite heavily driven by theme. <S> I suppose the rationale for calling this work "literary" is that - since it sets out to sincerely observe life - it is much more likely to do you some lasting good, and therefore qualify as "literature", than most "genre" or "populist" fiction. <S> This doesn't mean that works outside of "literary fiction" can't be "literature" necessarily, or even (I would argue) that all works within this genre are in-that-sense "literature". <S> Ultimately, though, the terms aren't well defined. <S> Different people use them differently, and with different agendas. <S> It's a bit like the term "junk food". <S> We all know it means "food that's pleasurable but not that good for you", and we could all name something that's clearly an example of junk food, but if asked to sort a load of food into two piles (i.e. junk food and not junk food), I doubt any two people would divide them up in exactly the same way. <A> There are many many differing opinions on this topic and discussion can be had at length about this issue. <S> Here is my definition, which is short, irrespective of genre and as a result somewhat vague: Entertainment Literature Works that are meant for consumption by the masses. <S> Literature Works that have have become popular and remained popular through time or have had a significant impact on world event or their genre. <S> Usually they have been deemed to have an inherent artistic value. <S> In sense everything (with notable exception of experimental literature) starts as entertainment literature and if it has some great value (which often means that it stands the test of time), then it becomes Literature that is being deeply analyzed and studied.
| Literary fiction, for this purpose seems to mean works that are more contemplative in nature, or that focus more on character or place than on action.
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Is it okay to have a character that has the same first or last name as another famous character But not like having the same full name but rather same last name like for example having a character named Kevin Snow which has the same last name as Game of Thrones character Jon Snow Other examples would be having same first name such as having a character named Logen Evans which has the same name as Wolverine's actual first name which is Logen as well <Q> The problem you're describing actually has an associated TV Trope: the One Mario Limit ( obligatory warning , now that I've added a link). <S> Some names become so strongly associated with one character/person, that any other characters/people with the same name will inevitably be compared with them. <S> Mario is a well-known example: the only other famous Mario I can think of right now is Mario Balotelli, who is in fact nicknamed "Super Mario". <S> I only believe this trope is a problem if: <S> There really is only one well-known character/person with that name. <S> Plenty of people are named 'Snow'. <S> I actually have a character myself named 'Snow'. <S> Nobody outside of Game of Thrones (that I know of) is named 'Lannister'. <S> The person that name is associated with is not a person you want your character to be associated with (@HvG made a similar point in their answer). <S> You'll notice that nobody these days is named "Adolf", for example. <S> Your character isn't distinct enough. <S> If your character 'Logan Evans' is a friendly, outgoing guy who solves his problems with his sharp wits, nobody will notice he shares his name with Wolverine. <S> If he's a loner who solves his problems with his fists, everyone will notice. <S> Other than that <S> , I would say this isn't worth worrying about, because there are so many famous people and famous works out there that it's almost impossible to come up with a name that hasn't been used by one of them <S> (unless you're writing a fantasy work like GoT and can just make one up). <S> When naming the protagonist of one of my stories, I plucked the name "Samantha Smith" out of thin air - when I found out that was the name of an actual famous person , rather than change it, I simply had another character make a remark about it. <A> I don't see any issue. <S> See any novels for that matter - Robert Langdon, the protagonist for Dan Brown's many works is inspired and loosely based on John Langdon, the famous typographer. <S> Such occurrences are very common and unless you copy everything about a character, I don't see any copyright issues. <S> For that matter, lets hope your Snow has a happy family :) <A> A lot of names are relatively common and therefore should not be monopolized by a single person. <S> As for John Snow, the name is not only famous for Game of Thrones, but it is also the name of an important Doctor that made major contributions to the concepts of today’s hygiene. <S> He was the one who successfully traced the cholera outbreak in London (1854). <S> Is this a coincidence? <S> Maybe, maybe not… Wiki-link, John Snow: <S> https://en.wikipedia.org/wiki/John_Snow <S> I would also add a further point to consider. <S> If you pick a name like Paris (as in Paris Hilton) for a character that is a very serious, hard working lab assistant…. <S> Prior knowledge of the reader might interfere with the picture you’re trying to create about the character. <S> Hence, one should consider how well known the name is and what that could mean for your readers. <A> An exception would be if one name were highly unusual (basically unique), or strongly associated with something. <S> I wouldn't use the surname "Gatsby," for instance. <S> ("Jay" would be okay.) <S> And as another poster pointed out, no one nowadays is eager to use the name "Adolf," or worse, the man's last name. <A> If you have a character named "John", well, there are lots of other fictional characters, and real people, named "John" would not bother me at all. <S> There are plenty of real people named "Snow". <S> I think few people would even notice the similarity, or would only notice it for an instant and promptly move on. <S> On the other hand if you named a character "Gandalf" or "Sherlock" or "Batman", <S> yeah, lots of readers would notice. <S> Matching just a first name or just a last name is far more likely to pass unnoticed that matching both. <S> And no one expects you to study every novel ever written and every movie and TV show ever made to avoid such duplication.
| Ordinarily, it would be ok, because first and last names are mostly interchangeable. It depends how distinctive the name is.
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What is the Purpose of an Inner Conflict? I've long known what the purpose of inner conflict is. Indeed, it was one of the simplest concepts for me to grasp when I was learning about it. Now I'm not so sure. I seem to have developed a dual understanding of inner conflict: what I used to know, and what I now know. Neither seem wrong, but they are different and can't both be the purpose of inner conflict. My question therefore is simple: What is the purpose of inner conflict? Why does one include it in their characters? The reason I'm not explaining how I view inner conflict is because I don't want to turn this question into a debate over which of my views are correct, or if either are. I want to hear how you view inner conflict instead. Note: As with any aspect of writing, I'm sure there are those who disagree with it. If you believe writers should not use inner conflict, I am interested to hear what you have to say. However, please put it in a comment. Only use an answer to answer the actual question. <Q> Inner conflict is the whole enchilada. <S> All good stories lead up to a moment of crisis in which the protagonist must make a choice. <S> That choice must be personally difficult. <S> It must come at personal cost. <S> Deciding to buy the Chevy rather than the Ford is a choice, but not one that comes at a personal moral or psychological cost. <S> The climax of a story is always that moment of change or revelation when the protagonist must ask themselves, am I this sort of person or that, am I willing to pay this price or not? <S> All stories also need something to bring the protagonist to this crisis point. <S> This is the role of external conflict. <S> But external conflict is not enough in itself. <S> Its point is to create the occasion on which the inner personal conflict must be faced. <S> Otherwise resolving the external conflict is a mere technical matter, like choosing between the Chevy and the Ford. <S> The crisis point of inner personal conflict can also be reached without an external antagonist, without an external conflict. <S> But external and internal conflicts are not alternatives. <S> Internal conflict is always at the heart. <S> The external conflict is merely a mechanism to bring them to that point. <A> Inner conflict might be caused by an outside conflict (it usually is), but this is typically because the external conflict reveals something conflicting within the character. <S> Inner conflict can take many forms. <S> Often, a character holds a certain worldview, but goes through an external conflict that forces them to reevaluate that worldview. <S> Take, for example, the movie Cars. <S> Lightning McQueen, the main character, is a famous race car who is accustomed to living in big cities and being carried everywhere in his trailer. <S> When he gets stranded in the small, rural town of Radiator Springs, he comes to question his own values and morals as he meets the people there. <S> Or, an inner conflict might take the form of a difficult decision. <S> This would be a major decision, one that calls into question (again) what the character truly values. <S> What is the purpose of inner conflict? <S> It helps us connect with the characters more. <S> Connecting with characters is critical to good storytelling; we don't care what happens to characters we don't care about. <S> Inner conflict makes your characters more human. <S> Real people have inner conflicts. <S> In fact, most of the inner conflicts in literature are real conflicts that many real people face. <S> Having a character go through such an inner conflict allows us to connect with them. <S> Have you ever battled an evil wizard? <S> Have you ever blown up a Death Star? <S> Most of us haven't [citation needed] . <S> But we can relate to the situations these characters are in, largely because we can relate to their inner conflict. <S> We can think about a character's dilemma: <S> Would I hand myself over to the guy who wants to kill me in order to save my friends? and ask ourselves if we would do the same. <S> We can watch Luke's inner turmoil as he is tempted by the power of the Dark Side and compare it to our own temptation. <S> TL;DR <S> Inner conflict is simply a conflict that occurs within a character's mind, usually involving their morals/beliefs/values. <S> All types of conflict are engaging if they are written well, but inner conflict is one of the most relatable, because we all experience it. <A> Since you say you know what an inner conflict is, I'll try and avoid explaining it. <S> Instead, I should point out that the definition of 'inner conflict' is why it is used in a novel. <S> Having your character disagree with himself excites the reader. <S> The reader wonders what the character is going to choose, and the consequences of that choice. <S> Let's say the character has someone he doesn't want to lose, but that person could potentially ruin the goal he has been trying to achieve throughout the novel. <S> What does he do? <S> He is now in conflict with himself, and the reader is given the opportunity to guess what is going to happen. <S> This has the reader wanting more. <S> Inner conflict is seen so often, in almost every novel, because of the reason I've just explained. <S> Hoping this answers your question. <A> Without some degree of inner conflict you have virtually no meaningful narrative. <S> A debate between two agreeing a parties is a very short debate. <S> A story may contain a major internal conflict or a series of conflicts. <S> Life is a series of decisions - each of which is in itself a conflict. <S> In characterisation a conflicted character comes across as lacking confidence. <S> If you go beyond the basic grammar and editing guidelines evidence of conflict is portrayed in the language.
| Inner conflict, as I define it, is simply a character's conflict with themself, rather than a character's conflict with the outside world.
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How to make the reader feel like the protagonist is not a single character, but the group/squad? Im writing a fictional dieselpunk story based on the WW2 era in a world of my own. The protagonists are two squads (one from the "Axis" and the other from the "Allies") with the characters within the squads. Those are Spec Ops squads. Some doubts have emerged when I finished some of the first 4 chapters where I write the path of the captain of the Axis Squad until he gets in the mission and the squad. It shows that he losts his previous squad and is somewhat traumatized by it, and then he is used by the governement for a super-soldier experiment where he will get his squad. Then next, my script was telling me to write about a recruit and how he lost a friend of his earlier days. He is supposed to meet with the squad that enters his village with a secret mission which he will get into by accident and bad luck and will eventually join the squad. But then, I saw that I was focusing these chapters on individuals rather than the squads. The recruit and the captain are the "stars" of these two squads in which I've prepeared more things on. I could not ignore this doubt so I came here to ask: How can I balance the individual x the protagonists? (the two squads) I've already thought of some solutions like a third-person narrator outside to the squads (somebody related to the secret mission I've told about) and treat these chapters focused on individuals something like as "interludes" and doing some edits on the chapter's organization, but I think that I dont know exactly what I'm doing and what would be the impact of my decisions to solve this. After all, I cant make all the chapters with the squads all complete. They are made by people. Sometimes their members will split out to do their own things and conflicts. In short, I ask this because I want the reader to feel that the squads are the protagonists. Such an abstract concept, but I came here to ask if anyone here has any suggestions about what can I do and/or what I should not. <Q> Short answer: you can't. <S> Stories are about emotions and they are about choices. <S> Groups don't have emotions and they don't make choices. <S> Only individuals do. <S> Stories about groups of friends are, of course, very common. <S> But in such stories, each person in the group has their individual story arc. <S> Those arcs all share a common history -- their arcs are punctuated by the same set of events, more or less -- but they are different arcs because each person has their own particular issues, desires, and goals. <S> You will notice that it is not uncommon in group stories for one member of the group to get separated from the group at critical junctures. <S> (How often does Bilbo get separated from the dwarfs in The Hobbit ? <S> Consider how the group containing Sam and Frodo changes and splits over the course of LOTR . <S> All this is <S> because there own particular story arcs require different events to animate them, and therefore they must split from the group.) <S> Not every member of a group necessarily has a fully developed and resolved arc, but they should at least have an implicit arc <S> so we know why they are there and what motivates their actions. <S> Our lives are worked out in concert with other people, and so stories often feature groups working together. <S> But the groups are not characters, and only characters -- individuals -- can be protagonists, at least in a classical western story. <A> I have the very same issue on a comic series I'm writing: I want a band of rascals to stand as the main core of the story, instead of a single hero. <S> My teacher told me that this can't be achieved . <S> Partly for the reasons stated in other answers: only individuals have emotions, motivations, and choices, not entities, and that is what brings the story forward. <S> My teacher told me that even the most coral stories (The Wire, or Sense8) have what it's called a " technical protagonist ", a character who may not have the most screen time (or pages time) <S> yet it's the one who embodies the main theme or main question of the story. <S> So even in a very original series like Sense8 (which, by the way, is a fantasy), where 8 distinct characters actually form a single psychological entity, their individual lives emerge distinctly, and it's only in their interaction <S> that the overall group is shown. <A> I agree with Mark in principle, but I would expand to add that I think by trying to revolve your story around two squads and trying to have them both as sets of protagonists, you're doing too much? <S> With each individual within each group you have the entire structure of their personal arc, and to have that for two squads seems a mountain to climb. <S> I don't know what your plan is (and I have a screenplay rather than novel background <S> so I'm not sure how helpful I can be to you) <S> but I would perhaps suggest splitting the squads into separate works. <S> This would help you with being able to flesh out each squad, having more time/room to focus on individuals and the core group as a whole. <S> That said if your story demands both are present at the same time, maybe make the squads smaller? <A> Currently, I am reading Leo Tolstoy's "Anna Karenina". <S> Although the title suggests she is the star of the book, there are many characters who are just as developed as Anna. <S> Tolstoy seems to do this by dedicating some chapters to Anna's story, and then dedicating chapters to his other characters story, and continuing this process multiple times throughout the story. <S> All the while the stories are intertwined and from reading it the flow of the story is not interrupted. <S> He was able to accomplish this through a very lengthy story (8 parts with most having 30+ chapters) and very talented writing, that is too complex to fully describe for this post. <A> If you write about two different people, the two separate lines of action should converge at one point. <S> Although it's fine to have a group protagonist, there should still be one central character who makes most of the decisions that drive the action of the play. <S> Remember, if you start with a group protagonist in Act One (the exposition movement) <S> you must extend that action in Act Two (confrontation) and the original forces (group) that were present in the beginning MUST be present in the climax.
| You might want to read some works that have multiple characters that are fully developed, with no one the "star" and see how those authors were able to balance them.
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Can there be multiple translated versions in the same language of a public domain book? I was thinking about a translation of a book that is in the public domain. The author is Adam Smith. There is already a French translation of some of his works. Does this mean that I cannot publish my own French translation? Does the existence of a French translation preclude the creation of another? Do I have to use a language that it isn't translated into? <Q> Can you think of other cases where there are multiple translation of the same book into the same language? <S> If you search Amazon for classics in one language, do you find multiple translations into other languages? <S> (Try the Divine Comedy or Beowulf or the Iliad -- or the Bible.) <S> What do you find? <A> There are classical books that have multiple translations to the same language. <S> However, before starting such a project, I would suggest that you ensure that your translation would be an improvement in some way from the original translation. <A> Yes, you can. <S> As stated by others, public domain works - by definition - don't pose limits to uses and reuses. <S> As long as you don't use other translations' solutions or passages (i.e. you don't copy other translations, which would infringe the copyright of the translation, but not of the original work) <S> you're fine.
| Public domain books are no longer under copyright protection and can be used by the public as they wish without fear of copyright infringement.
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Opening statement doesn't match conclusion. Is this count as plot loophole? I wrote a story that starts like this: My girlfriend, Hitomi, is in love with my elder brother. But refuses to accept it. Not in the sense that she doesn't want to reveal the truth---she doesn't know the truth herself. Then in the final scene, I write: The present, however, still haunted me. "Where's Satoshi?" "At the apartment---oh, you won't believe what he did." Hitomi cupped my hands with her ice-cooled ones. "He did this and told me that he loved me." "Really?" I said, coating my voice with faux surprise. "How ... did you reply?" "How else? That I'm with you and that I love you.'' Hitomi bit the inner side of her cheek. "I think we got a big problem with Satoshi." It took me a few seconds to digest this new reality. So perhaps I had been paranoid after all? I'd probably never know, which was probably for the best. As you can see, the first bolded part doesn't match the second bolded part. However, I wonder if this is permissible in first-person narration where the MC doesn't know what is going to happen at the end of his tale? (Or at least, wants the reader to think that?) <Q> Some advice that Ayn Rand offered was to start character with a false philosophy and to openly state it. <S> By the end of the book, their arc should gracefully have delivered them to a true philosophy - these are the "book ends" that readers look for and which help them find satisfaction. <S> Think Frodo between meeting Gandalf and throwing the ring away; each of the characters in Guardians of the Galaxy; etc. <S> It's the conflict between these two points which delivers the storyline. <S> Rephrase your prose so that these opening and closing parantheses reflect each other in substance but not belief. <S> Remember - the closing statement <S> should contradict the original situation. <A> Unlike other forms of writing fiction deals with 'thoughts' and 'opinions' as opposed to 'facts'. <S> Thought and opinions <S> can change - facts do not. <S> Your story starts with a statement of fact. <S> All your problems would be solved with a point of view. <S> I'm convinced, my girlfriend, Hitomi, is in love with my elder brother. <S> But refuses to accept it. <S> Not in the sense that she doesn't want to reveal the truth, maybe she doesn't know the truth herself. <S> All Fixed. <S> More natural sounding. <S> Improved voice. <A> I wonder if this [opening statement doesn't match conclusion] is permissible in first-person narration where the MC doesn't know what is going to happen at the end of his tale? <S> (Or at least, wants the reader to think that?) <S> I'd say that it's where it would be the most permissible. <S> In first-person narration, the POV is biased, since it depends on one character's opinions and ideas. <S> Or, at least, weren't quite right about it. <S> In fact, it's a great twist and allows the character-narrator to evolve. <S> Obviously, the same can be said of other types of narration (which means that opening and closing statements at odds are permissible everywhere). <S> Any character, or even an ironic narrator, can make a statement that turns out to be wrong at the end. <S> The way I see it, this change (or, better yet, evolution) mimics an important aspect of real life: one draws conclusions about others based on the actions one sees, but are our conclusions accurate? <A> Your problem isn't that the opening and conclusion don't match. <S> It's that your conclusion doesn't resolve anything . <S> With an opening like that, your plot options are: Get Hitomi to realize the truth. <S> Have your protagonist uncover the real truth, that it was Satoshi who was in love with Hitomi. <S> But in either case, discovering the truth is only half your story. <S> The second half needs to have your characters make use of this newfound knowledge to take control of their lives. <S> In the first scenario, Hitomi needs to choose between Satoshi and your protagonist. <S> In the second scenario, your protagonist is the one who has to make a choice/sacrifice. <S> But ending a story with, "We've learned the truth, but we'll never know what comes of it" isn't satisfying at all . <S> That's the real problem here. <S> When a story ends, it needs to answer the most primordial question posed early in your story. <S> That question isn't whether Hitomi is in love with Satoshi or the protagonist. <S> That part is already asserted, and it is known as The Lie . <S> The real question is: Who does she choose once the lie is exposed?
| It's perfectly acceptable for the tale to open with the character/narrator believing something only to reach the end and discover they were wrong in their initial belief.
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Is it illegal to imagine a real person for a fictional character? There are times I meet someone for a brief time, maybe a couple hours, and their personality impresses me enough to create a fictional character about them. Obviously I am adding my own attributes to the fictional character, and I don't know them well enough to write about many of the real person's attributes, but the original impression on me will be central to their character. Is it illegal to create a character this way, where the character development is loosely based on a real person this way? When I am writing I make sure the connection is loose enough that the person could not be identified. I guess my main concern is if someone would read my book (which is a work in progress) and be like "oh I remember seeing this author for a couple of hours and this fictional person has a similar personality to me" Could they sue me? <Q> To "imagine"? <S> Sure. <S> I do it all the time. <S> No thought-crimes (yet). <S> The catch is that you would never be able to guess whom I used for visualization, not even if you knew me personally. <S> I do not write fantasy or sci-fi. <S> Since my characters have real behavior and emotions, and do realistic things, how could I possibly avoid visualizing real people? <S> I know what "Jane" would say or do in a certain situation; "Jane" is not unusual among people; so I will write my character to perform like the real "Jane" would do. <S> I do not need to describe "Jane. <S> " <S> But if her cell phone rings, I know how long it will take for her to pull it out of her bag. <S> I know whether she will look for caller ID. <S> I know what she will say. <S> When the call is done, I know what she will say to a bystander who could not avoid overhearing her. <S> "Jane" would not recognize the fictional character as being modeled after herself. <S> All that is very generic. <S> But then, most people are very generic. <S> Not necessarily applicable to fantasy. <A> Since most characters in every story draws from a conglomeration of different people the author met/ saw/ heard, the answer is likely 'no' (I'm no attorney). <S> Make sure the character is not exactly the same as the person (which you already identified as something you did). <S> I sat down at the door of a Wal-Mart one day and imagine short stories about every person that walked out the door every 5 minutes. <S> I took some quotes, looks, mannerisms, all from examining people. <S> This is a trick a writing teacher taught us to do. <S> The key is making the characters different "enough" <A> You seem to be worried about "defamation" which consists of publishing statements that are 1) false 2) <S> reasonably (and wrongly) believed to be true) and 3) are "highly offensive" to a reasonable third party. <S> First, truth is a defense against "defamation" (although you can get into trouble on other grounds if you publish private facts like someone's social security number). <S> Second, labeling something as fiction is a defense, although an imperfect one, against people believing that it is, in fact, true. <S> Basically, you have to avoid being so factual with part of your story that people believe that the rest is also factual. <S> The third, and perhaps most important issue, is that the target has to be defamed in the eyes of reasonable third parties. <S> So something like Mr. X thinking, "I met with Virginia for two hours <S> and I think she's describing me" doesn't constitute defamation. <S> What would constitute defamation is someone going up to Mr. X and saying, "I'm not going to hire/do business/associate with you because of what I read about you in Virginia's book" (which happened to be untrue). <S> No reasonable person would do this unless your book described Mr. X to a degree of "granularity" that it would make it practically impossible to believe that your character is anyone else. <S> And even the "defamation" has to pass the reasonable person test. <S> A suit by a former beauty queen was thrown out because the book accused her of having sex while levitating in mid-air, a physical impossibility. <S> In the late 1970s, a judge threw out a suit by someone being called a "bastard" by noting 1) <S> the term was in common use and 2) one of out of <S> every four Americans was then being born out of wedlock, meaning that someone could not reasonably be defamed by a term that accurately described that many people. <S> I am not a lawyer and am answering as a writer, and prospective juror. <A> I sure hope not... all my characters are 'inspired' by very real people I know. <S> Even my stories contain real situations that I have been in or someone I know has been in. <S> And I am sure, <S> no it is not illegal. <S> If you have copied each and every bit of their personality, you can always give them credit and let them know. <S> If they would have any objections, they would let you know. <S> However, since you say you have met people for a couple of hours and they have inspired some characters in your story - then, dear friend, you cant know a person completely in a short time span. <S> You may have reflected on the traits that you could capture but not all. <S> So, I believe even if they read your work, they wont be able to identify that it is based on them. <S> Of course, there are so many characters that are based on real people. <S> It all depends on how the author pens down.
| Even the same person can be an inspiration for multiple characters.
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How should I plan blog content and themes for the best reader experience? I have been blogging for 6 months now. I have a general theme of the month but I find it very hard to organize my writing, as these themes are all very broad. I want to ask fellow bloggers how do you plan ahead your writing, for the best experience for the reader. Any clues? <Q> If I were to do a daily blog about a general monthly topic, I would make a list of all the important things about that particular monthly topic. <S> Then I would organize the list into an order that makes sense. <S> Lastly, I would focus on one of the important things on my re-organized list per day. <S> Only the last step would be seen on my blog. <S> Hope this helps. <A> I have been blogging since 2009 <S> ( JP On Gaming )and have been through a number of phases as I grew older. <S> It's okay to publish fewer articles if they are more interesting (I typically post only up to 1/day) <S> If you have wildly diverging interests, have a different blog (I have one for writing fiction and essays and my main one for my gaming-related topics). <S> Look at your analytics: what do your readers view more? <S> what type of approach do they comment most on? <S> Keep blogging. <S> Sounds a lot simple, but it is perhaps the most difficult of the bunch <S> "We talk about it here" <S> announce what it is. <S> Your blog will not please everyone. <S> It won't. <S> But that doesn't mean your regular readers don't love it. <S> Have polls asking your readers what they want Write in advance <A> This is perhaps a bit cavalier, but I'm going to say it anyway. <S> A blog needs either a personality or an editorial calendar. <S> People are interested in people, particularly in people whose interests are the same as theirs. <S> If you find a blog in a field that interests you that is written by somebody with a distinctive voice and some interesting things to say, you will follow the and you will give them a lot of slack when their posting schedule is erratic and when they sometimes get a bit off topic. <S> If you have a personality and an interest that is shared by other people, then you are probably fine just to write what you want when you want. <S> If you are a corporation that is creating a blog as a content marketing tool, then, almost by definition, you don't have a personality or anything interesting to say <S> and you have plan very carefully to give the reader the appearance that you do. <S> In this case, you definitely need an editorial calendar.
| If you plan to have a scattered approach: writing, movie critique, botany, chicken rearing, space exploration, and more, then find a name/theme to your blog that is encompassing "A Lady's Interest" or
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Getting my 4 aliens in the same ship? In my story/solar system there are 4 alien races. They recently discovered one another maybe 10-20 years or so ago. There is a metaphorical sword in the stone type of space station/ship in my story that no one can gain access to because the races won't co-operate with one another/hate each other. Without putting them in a Space Taxi together, why would they be travelling in the same ship? Assume they don't know that they will gain access if they are all present together. <Q> They don't use the same ship... <S> at first Starting out with your 4 species on the same ship is not only going to feel contrived, it takes away story potential. <S> Instead, set up an initial scenario that highlights some of the species' natures, for example: <S> Species A is going it alone in secret, but their experimental stealth system fails, prompting the other species to send their own ships. <S> Species B tried to get A and C to join, but had to settle for hiring C. Species C is on board with B only because of a huge payoff in tech, they don't really care for the station. <S> Species D's government sent a warship, apparently to destroy the other ships. <S> But rebels have infiltrated and sabotaged the ship, claiming they want peace. <S> Starting out like <S> this gives you the opportunity to develop your protagonists by forcing a series of hard choices that give a sense of why they might be worthy of the sword in the stone while conveniently resulting in all 4 of them ending up on the same ship. <S> Examples again: C might be tempted with a fat offer from D if they betray B. D's warship fires at and damages A's ship, but which faction did it and was it to destroy A or protect B <S> /C? <S> B wants to aid A but C balks at that idea. <S> Will they relent? <A> Okay, with the clarification that we're trying to get them onto another ship that will then get them aboard the SS Plot Device ... <S> Space travel is expensive <S> In a single star system, species that only discovered one another a few decades ago likely don't have particularly advanced spacecraft yet. <S> We could therefore imagine that building a single interplanetary ship could cost as much as, say, the entire Apollo program. <S> If you have a choice between spending the local equivalent of $100 billion to build your own ship to take you out to mine the asteroid belt, or spending $5 billion to get a seat aboard someone else's ship, you could well be willing to hold your nose for the duration of the flight and travel aboard somebody else's ship. <S> Space travel is dangerous <S> Two asteroids are being mined, one by the insectoids of Shmenus and one by the smelly apes from Shmearth. <S> Due to a very slight miscalculation, it turns out the two asteroids are actually about to impact one another. <S> Both mining colonies need to evacuate, immediately. <S> The nearby Shmartian freighter ship may not like the slimy insectoids, and the apes may keep making fun of the captain's feathers, but you can't just leave them all to die, <S> so... <S> well, I guess we'll have to pick them up. <S> Just long enough to get them back to their own people, of course. <S> With prisoners from Shmenus, Shmearth, and Shmars, the Shmuropan squids are moving their prison hulk ships out to the asteroid belt, where the vile xenos will perform hard labour to work off their sentence after their monstrous aggression against sacred Shmuropa. <S> Hey, it worked for Blake's Seven... <A> To stop the other races from controlling it Never underestimate the power of the double-cross. <S> If Alice, Bob, Carol, and Dennis all know that this ship is out there and that all four must access it together, each will be motivated to go on the chance they can unlock the ship and then double-cross the others to steal it for their own species. <S> As the man said, "Diplomacy is the art of saying 'nice doggie' until you can find a rock."
| Space makes a great prison Prison hulks are a longstanding tradition hear on earth, and a space-hulk to hold POWs from the first interplanetary war would be an extremely secure location. They can play nicely together for the trip while at the same time each one planning their coup and expecting that the others are doing the same.
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Is blending genres well received by readers? My writings tend to be a blend of multiple genre's. I know some can work well together, like sci-fi and fantasy, but are there genre's that should not be blended? Also, is it confusing to reader's when there is not a clear genre? <Q> Lots of people have done it. <S> The real question is, will it produce a work with crossover appeal? <S> That is, will it appeal to fans of both genres? <S> A good example to look at here is Joss Whedon's Firefly . <S> It is a very clear blending of elements from westerns and space-opera style science fiction. <S> Which audience did is appeal to? <S> Clearly it appealed to science fiction and fantasy fans. <S> Did it appeal to fans of westerns? <S> Not as far as I can tell. <S> Now imagine a romance novel set in 1850s Wyoming with a cowboy as the hero. <S> Clearly it will borrow elements from westerns again. <S> Will it pull a lot of Louis L'aMour fans? <S> Probably not. <S> A genre is fundamentally a promise to the reader that they are going to receive a particular kind of reading experience. <S> Fans of westerns like horses and big hats and schoolmarms in their books to be sure, but they also want a kind of rugged earnestness of a John Wayne, not the smarmy smartassery of a Nathan Fillion. <S> Firefly, in other words, is science fiction set on a western backlot, but it is still science fiction because it delivers the kind of viewing experience that a science fiction fan wants, not the kind of experience a western fan wants. <S> So, can you blend elements from one genre into another genre? <S> Certainly. <S> But the result had better still be squarely aimed at the reader of one genre and had better clearly give them the core elements of the experience they expect from that genre, or no one in the entire publishing chain, from agent, to editor, to publicist, to bookseller, to reader, is going to know what to do with it. <A> Putting elements of one genre into a work that is another genre is not going to confuse your readers. <S> The real genre is what constitutes the internal conflict faced by the protagonist. <S> For instance, if the chief problem faced by the protagonist is that he/she is powerless in the face of evil, you have a horror story. <S> The dressing can consist of elements of science fiction (the Alien franchise), ordinary hum-drum life ( Mommie Dearest ), or have supernatural elements (typical horror). <S> Likewise, if the whole point is that there are men who prefer honor to life, you have a western, whether it's set in outer space ( Firefly ) or the Old West (just about any classic western). <S> Fantasy and science fiction both have their own unique internal struggles (personal good and evil for fantasy, and social good and evil for science fiction). <S> Both tales are usually dressed up with characteristic elements, but in the case of Star Wars , the tale is about the impact of personal good and evil, so even though it is packed with the trappings of science fiction, at its heart it's a fantasy story. <S> Naturally, there are a lot of stories whose internal struggles are a blend of the distinct genres; 1984 <S> is both horror and science fiction. <S> So identify the key internal conflict in the story—start over if it doesn't have one!—and then add the dressing you want. <A> It's very well received by readers --when done well. <S> Many popular and influential books and movies have imported elements from one genre into another. <S> Harry Potter is Agatha Christie as YA Fantasy. <S> Neuromancer is film noir in cyberspace. <S> Star Wars is a fairy tale in a distant galaxy. <S> But if you do it poorly, it will read like a parody or a pastiche. <S> In general, you need to understand both genres well and be respectful of each. <S> If you're just plundering different sources for cool ideas it will feel lazy and derivative. <A> There is a snobbery amongst readers (and writers). <S> This is evidenced by the sheer volume of fantasy writers on this site. <S> When they go to the library or the book-store they rarely look past the fantasy section. <S> The main genre of you work is purely marketing. <S> But be aware the readership has certain expectations of any genre - don't put anal sex in 'Christian' literature even if your story is about a prostitute finding God. <S> Romance crosses all genres. <S> However, outside of your marketing genre the sky's the limit. <S> e.g. I have a thriller which spends a lot of its time in the fantasy genre - the MC is a heroin addict. <S> I also have a science fiction series which spends at least three volumes 'thinking' its science fiction. <S> Scientists spend the bulk of the story trying fix an anomaly <S> they believe they created <S> but it turns out they were not to blame - all that came to pass was deemed by the gods on Mount Olympus (fantasy). <S> With each genre comes and expectation of 'style'. <S> Fantasy readers expect worldbuilding etc. <A> Example 1: "Pride and Prejudice and Zombies." <S> Classic, or horror? <S> Example 2: "The Seven-Per-Cent Solution. <S> " <S> Mystery, or sociology? <S> Example 3: "The Hitchhiker's Guide to the Galaxy. <S> " <S> Sci-fi, or humor? <A> You can do this when they work well together. <S> One of my works is a romantic comedy. <S> But it incorporates science fiction. <S> I have to be careful to downplay the science fiction because it is really a "mechanic" that drives the comedy; the "science" is not there for its own sake. <S> In these kinds of situations, one genre will be dominant, and the other(s) will be subordinate. <S> That way, there will be a "clear genre" that is not confusing. <S> As another poster pointed out, only one genre should determine the reading experience. <S> I was not writing my piece for science fiction fans, although I would be pleased if they read it.
| You can very clearly blend elements of genres.
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Reusing a scene in epilogue and future chapters I'm writing a fantasy which stretches over two volumes. At the end of the first book, a complex plot comes to a conclusion with a war but it results in the death of many major characters, one of them close to the hero. The hero also, falls into a temporary coma after the climax (not related to the deaths). Now, I've an idea of a very good scene which would show how the hero deals with the loss (It is not a dream sequence). I can very easily add the chapter to the Epilogue of the first volume as it is a very gripping scene and seems like a proper note to end the first volume on. What my issue is that the hero is in a coma and obviously the epilogue places itself into some days after the event. Then when I start the second volume, it starts immediately after the war (and so some days before the epilogue). After this, I show my hero rising from the coma and as part of the continuity, I've to show the scene happening to fit it into the continuity. What I would like to understand is whether this is a good idea? Should I reuse the chapter to show a continuity? or should I just skip the scene in Volume II and assume people to assume that it happened in the continuity? or is there a third option? <Q> Usually an epilogue is written to show what happens after the story to give more conclusion to the story. <S> Since you are making a sequel, the sequel replaces the epilogue. <S> If you decide to do the epilogue anyway, when writing the second book remember that some readers like to read sequels out of order, or take a break between reading two books. <S> So they may not understand or fully remember what happened in the first book. <A> Indeed there is a third option, and a fourth, and a fifth and infinite options. <S> First and foremost . <S> . . when a reader sees the words 'prologue' or 'epilogue' what they actually read is 'optional'. <S> Most people wouldn't recognise a Star Wars prologue if their lives depended on it. <S> Probably the most important aspect of writing is POV, It is the most powerful tool. <S> The Achilles heal of most fantasy writers is their ego, and their desire to tell the story. <S> When you multiple volumes you are tasked with satisfying two sets of readers; those who have read previous volumes and are up to speed, and 'new' readers. <S> It is a prerequisite that each volume must stand alone. <S> If you attempt to 'recap' to bring new reader into the know you run the risk of boring existing readers shit-less. <S> Additionally, a recap by a third party may differ from the original view. <S> People see things differently. <S> I don't know your story. <S> The Prince has been injured in battle. <S> The villain has taken the princess. <S> Maybe we open with princess's maid praying by the the prince's bedside. <S> "My Lord, you cannot hear my words <S> so I have occasion to speak to beyond my station. <S> I was your mother's chambermaid when I first occasioned you. <S> 16-years-old you were to be wed the daughter of Xerxes. <S> You said no. <S> When your father banished you - you fought him. <S> When the Pyroclons sought to enslave our people you stood up, you said no - you fought them. <S> And when Earl of Pendragon came to take your betrothed as his own, claiming it would unify the Kingdoms - you fought him. <S> Master, I beg of you - rise and fight again. <S> Rise and fight - fight for your Kingdom, avenge the slaying of your father, fight for the return of your princess. <S> I say this . . . <S> even if her return would crush a peasant girl's last hope. <S> Better you live with her than leave me to grieve alone." <S> God that was awful!! <S> What I've tried to do is recap what has happened before (for the new readers) combined with a shocking revelation ( for the existing readers) - the maid is in love with prince. <S> Does that work for you? <A> It sounds to me like the solution to your dilemma lies within the question of why you decided to place the hero in a coma in the first place, at the end of your first book. <S> If the purpose was to have a cliff-hanger, keeping the reader wondering whether the hero will rise again, and in what shape he will be, then it seems that adding this Epilogue will ruin that impact. <S> The reader will be saying "oh, that coma thing was not such a big deal, since I just flipped the page <S> and he's back". <S> Indeed, it seems to turn the coma just into a phase of unconsciousness. <S> However, a coma could also be a different kind of plot device. <S> Or, once he wakes from the coma, the hero might be permanently injured in some way, and the coma expresses the intensity of his wounds. <S> In this case, you can have the Epilogue you want, but I would place hints in the Epilogue to these coma-related issues. <S> That way the reader will say "wow, that coma was really something significant in the story". <A> i think if used well, this would make the narration very interesting. <S> Indeed, I read some short story by a friend who used the same sentence as his first and last statement for the story. <S> Ofcourse, the meaning had completely changed... <S> but it was fun! <S> And ofcourse, there are several more possibilities.. <S> it all depends on how you want to present.. <S> its your story after all. <S> Good Luck!
| You probably need to at least summarize or restate what happened in the epilogue during the sequel, or you could add more detail to it the second time around to make it more interesting to those who so remember it. You might want the coma to last a few days or weeks, during which things occur while the hero rests. The easy solution is to change POV or get a character to recap (traditionally the prologue is spoken by a fringe character).
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Finding someone to publish, in the digital age I've asked a couple of questions on this site over the past year or two about publishing. I've been thinking about going the self-publishing route. It still seems like the quickest and easiest way to go, though there are obviously disadvantages (thanks to all who've brought them up, in answers to my other questions). Someone suggested going to a writers' conference and pitching my book to agents. This seems old-fashioned. Aren't there websites, email addresses, etc. that I can throw my idea at, instead? I'm still not set on going the trad route, as it seems too long and filled with disappointment for most people. But I could give it a try, if it didn't involve traveling around the US to pitch my idea. <Q> If you are thinking of going the traditional route, then you'll likely need to research getting an agent. <S> Pitching at a conference is one approach, but has its disadvantages (like travel costs). <S> Start googling "agents for X" where X is the type of book you've written. <S> So the answer is, yes, there probably are websites and email addresses. <A> There are places such as lulu.com, who offer publishing services, but it depends on how much control you want to have. <S> Going that route will give you complete control, which leaves no outside input into the final work, which you may want in terms of editing? <S> so you don't lose that unbiased pair of eyes over your work. <A> Agents represent people, not manuscripts. <S> The author/agent relationship is a long term business relationship on which the author's career and livelihood largely depends. <S> If you don't like and trust your agent, you are not going to be happy. <S> If an agent does not like or trust their client, they are not going to be happy. <S> This is why it is so advantageous to meet an agent in person at a conference. <S> It is why agents spend so much of their time and money to attend conferences. <S> They are looking to form long term business relationships with writers they believe in both as professionals and as storytellers. <S> And while such relationships can certainly be formed without meeting in person, the chances of forming them are much better if you do meet in person. <S> There is a reason business people travel so much, and why to put such an emphasis on meeting in person. <S> You can communicate any information anyone could need via email. <S> But it is much harder to form a personal trust relationship that way. <S> Look at it this way. <S> If you were applying for a job, would you want to have an in person interview? <S> Do you think you would have a better chance if you me the hiring manager in person? <S> Same think with an agent. <S> You are forming a long term business relationship and it helps enormously to do that in person.
| Check magazines that may have articles on agents (such as "Poets & Writers") as well as those magazines websites. Personally I would go the lulu route as it cuts out the agent, but I would perhaps recommend having someone proofread and edit for you
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Who should I share my writing ideas with I'm too scared to share with my family My online friends only know of Star Wars I got an idea stolen I don't really know anyone in real life I would like to know if there is a way to contact anyone on here one to one like a Direct message. I haven't found out how. I need to share my ideas with someone because I am now not feeling confident, and I found out an already made story is like mine. <Q> I don't know how far you have gotten already in writing your ideas down, but there are many online communities where you can upload your ideas and/or stories and ask for feedback. <S> As one user above said, any good idea will get stolen eventually. <S> On the other hand everyone does (intentionally or not) copy from other people's works and techniques. <S> Even the words we use have been invented by others. <S> If you are afraid of sharing your ideas, you won't be able to get any feedback. <S> Anyways, great communities where you could ask for feedback are absolutewrite.com/forums, archiveofourown.org (fanfic), reddit.com/r/DestructiveReaders , noveltrove.com (erotic fiction) and many, many more... <A> I'm probably going to get a gazillion negatives for this <S> but why would you want to share your writing ideas? <S> 99% of writers fail to write anything of significance. <S> Writers fall into two categories: (1) hobbyists. <S> These people want to discuss their imaginary worlds with others who have also constructed their own alternative worlds which they can retreat into. <S> (2) Professional writers: these people earn their living; ghost-writing, script-writing, speech-writing. <S> This is what they do feed their families. <S> Why would they want to help you eat into their slice of pie? <S> Personally, I've got 100 plots that are all good that'll take time to convert to stories - time that I'll never get back. <S> Real, established writers are a select group. <S> Stories are not their 'babies'. <S> They'll sit outside cafes drinking coffee. <S> One will say they've got an idea for a story about a female US Muslim president. <S> The others will tell the writer, "That'll never fly. <S> "And <S> they'll move on to the next idea. <S> Your idea that you want to share is not that special - trust me on that. <A> I'll assume you want to share story ideas, and not written work. <S> You just want to bounce ideas around with friends. <S> That's a great idea. <S> Gather a group of literate friends. <S> I doubt they only know about Star Wars. <S> They know about human relationships, right? <S> And drama and love and humor? <S> Start with those friends. <S> Take a class at your arts center or community college. <S> You'll meet more people there. <S> Go to readings in your area. <S> Look for them at bookstores and colleges. <S> If your city has a literary organization, go to their events. <S> I think it's important to have writing friends in the real world. <S> Eventually you might find opportunities to join a writing group - or create one. <S> You say you're not feeling confident. <S> We all understand that. <S> But the way to get through it is to just keep writing. <S> Just write your story. <A> I face the same situation... <S> mostly I have a bunch of friends I retreat to when I need help editing something or when I want opinions. <S> I agree with both the answers above. <S> This has happened with me and other people I know. <S> While writing fanfictions, many of our plot ideas were stolen. <S> Now since we just wrote for fun or for the joy it presents, it was an added advantage to see our fav characters live the situations that we envisioned them to live in. <S> However, for a serious person who wants to pursue this as career, this is the most horrible thing that can happen. <S> If you want to share ideas and have people give their advice or read other people's ideas, there are two things based on how secure your work shall remain - have a bunch of friends who share similar interests and are willing to help. <S> You know they will be honest and there will be no threat for work stealth. <S> join a fanfiction forum or portal where you can share your work.
| In other words, hang out with writers.
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Is there any financial advantage to translating my book myself? I can speak a few languages and I am just about done with my first manuscript in English. Since I found the translation fun and not too difficult, I translated it into French, German, Spanish and Swedish. I read the versions to some of my friends who are bilingual in those languages and found no faults in the translation I haven't sent the English manuscript in yet, and so, I haven't made a deal yet. I understand it is putting the cart before the horse, but I am curious. Would a publisher be willing to use my translation? I understand that there are several caveats to this. 1) Assuming my translation is correct. 2) Assuming there is a market for it in those languages/countries 3) I know a publisher would probably only translate it there was a reason for it, like having it sell numerous copies already in English. (My thinking around this part is that if I provide the translated versions, there is less upfront expenditures for the publisher to issue it in those languages. They would only need edit an existing copy, which means less costs to both parties. If the publisher were to translate it, they would take the cost of translation out of the advance/payment to you, which is less ideal.) 4) If the publisher thought that there were not markets for certain languages, or did not want to put in the effort to do the translation, would you be able to work out something to retain those specific rights or just do the translation for them? Or maybe even just self publish those language versions with the publisher's consent? Are languages rights all or none? I also have friends who would be willing to translate it into Korean, Turkish and Hindi, if it were to be published. I hear that India and South Korea are untapped markets. <Q> If you can translate your own books, then you can control how the books are translated. <S> And while some publishers might not pay to have your book translated, they might accept the gift of "two" (or more) for one. <A> I'm surprised by how often people neglect opportunity cost when considering whether doing something themselves is financially advantageous. <S> So besides having control of the output, you'll want to ask yourself what you would do with your time if you weren't translating your own work: would you be working on an income-generating job, such as writing another book? <S> Books for the English (American) market, generally speaking, are the most profitable. <S> If your novel sells well in English, chances are your next novel in English will also sell well—probably better than your translations. <S> In that case, no, doing your own translations would not be financially advantageous. <S> I suspect that is one major reason successful, multilingual authors leave their translations to others—they've got more best-sellers to write. <S> That, and most people would rather work on something new than rewrite the same story over and over in different languages. <A> I can't directly address the financial issue. <S> Oviously a good translator costs money to hire, and the translation will require additional editing in that language. <S> But I just looked up a couple of famous authors whom I know are fluently bilingual. <S> In each case, the author did not translate his own work, but wrote it in one language, with another person (also famous) doing the translation. <S> Perhaps that's the lifestyle of the famous! <S> I could translate much of my own writing into gramatically accurate French. <S> What I cannot do is express English street talk in French. <S> A translator, realizing that certain passages were English street talk, would substitute whatever French conveys the meaning, without bothering to say precisely the same thing. <S> The translator has the advantage of mental distance from the work. <S> On a related note (pun intended): Some of the worst folk-pop songs I've heard, from amateurs, involve setting one or more Biblical passages to music. <S> They insist on preserving the precise language of (say) KJV, even though it does not fit the music. <S> Yet it can be done (Byrds, "Turn, Turn, Turn"). <S> It is a different issue if your work is academic, and uses precise language throughout. <A> You can pay for the translation, or you can do it yourself and save money. <S> Translating your own work yourself will also, as Tom Au pointed out, give you an advantage of better control of the outcome, assuming that you are capable of performing the task. <S> How it is all going to play out largely depends upon how you are planning to publish your work. <S> If you are publishing yourself, you are in charge of much more aspects of the process. <S> If you have a publisher, I would allow myself to guess, that all the questions related to translating should be addressed to them.
| There are some financial advantages to translating a book yourself, but IMHO, the main advantages are moral advantages. Leaving aside the reason why would you want your work translated, the short and simple answer is, of course, yes.
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Use of Regional Diction in Writing Let's say a piece of writing is being composed. That piece of writing can, of course, be crafted with a slew of different techniques and artistic choices, but, one of those is the language used. How does the use of regionally-diverse diction, such as that used in "The Adventures of Huckleberry Finn", contribute to a work holistically? Is it better to match the context of a piece with diction relevant to the given context, or simply to retain a consistent and standard styling? <Q> How does the use of regionally-diverse diction, such as that used in "The Adventures of Huckleberry Finn", contribute to a work holistically? <S> It can create a better sense of immersion. <S> It can allow the reader to play with stereotypes (eg. <S> people with a certain accent/slang come from a certain region/class and typically display certain behaviours) whether by reinfocing them or opposing them. <S> It can help disntiguish characters quickly. <S> Is it better to match the context of a piece with diction relevant to the given context, or simply to retain a consistent and standard styling? <S> The keywords when choosing to go this route are 'depends' and 'consistency'. <S> Secondly, you ought to mimic it accurately, or not at all. <S> By this I don't mean every detail of the regional diction needs (although you can certainly do so) to be presented but a few obvious indications. <S> I believe idioms may be more important even than diction. <S> Naturally, consistency is key. <S> Once you have a French character 'speak' with an accent, you can't go back or <S> it will 'sound' as if the character chooses to speak with an accent only when it suits them. <A> It depends on your market and the quality of your readership. <S> There is a battle between two major forms of the English Language - British English and American English. <S> US culture is very internal - American's interest rarely extends beyond its borders. <S> But the rest of the world has been fed American English via film and other media. <S> The result is that most of the English speaking world is well versed in both British and US English <S> whereas Americans tend only know their own. <S> e.g. <S> "Hurry up," shouted Liz. <S> "If you two want a lift to work you need to get a wiggle on." Maria yawned. <S> "I am not going to my job today. <S> In this moment I feel too tired." <S> "That's because you stayed out half the night - you slapper. <S> " <S> Liz laughed. <S> " <S> Heidi, you ready?" <S> Heidi appeared in the kitchen doorway. <S> " <S> Sure, I'm ready," she said, entering Maria's room and shaking her by the shoulder. <S> " <S> Anchor baby, I'll tell 'em you're sick." <S> From gleaning the text a reader may suspect that Liz is English, Maria is Hispanic (even is she was born in the USA) and in all likelihood Heidi is American. <A> Dialect writing was quite popular among authors in the 19th and early 20th century. <S> Both Twain and Kipling indulged in it extensively. <S> In an age where few had the opportunity to travel and there were no movies to bring the sounds and sights of foreign lands to people, the appeal of the exotic in fiction (and nonfiction) was quite strong. <S> It was the golden age of the circus for much the same reason. <S> But dialect writing, whether it is reproducing the sounds or the vocabulary of local speech, is difficult to read, and modern readers have many other ways to experience the exotic flavor of any place or people they are interested in. <S> Want local color? <S> You will get more from watching Anthony Bourdain than you will from reading a book. <S> So, regional diction writing seems to be much less in fashion these days, and most authors seem to avoid it entirely. <S> When I have seen it done, it is done with a very light touch. <S> All dialogue is artifice, and other forms of artifice can be used to get the point across about a character's origins, habits, or patterns of thought. <A> I may also add: somebody mentioned that consistency is the key - this is not necessarily true. <S> I've no advice for fantasy writers but 'real world' writing is totally different. <S> Heavy dialect can become a chore to read - what is needed is an initial 'instruction' plus reminders. <S> You can set this up by a character talking to his peers or countrymen, whether they be stereotypical Jamaican drug-dealers, African-American gang-bangers, Mexican illegal immigrants, or Terrorist refugees. <S> Your character is using heavy dialogue when speaking to his peers. <S> But on receiving a phone call from his boss, school-teacher etc . . . <S> reverts to the Queen's English. <S> 'International' characters will change their dialect in accordance with who their are communicating with.
| First, make sure it really makes sense to use this type of writing.
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Finding fantasy genre a bit too complex Although I like reading fantasy / adventure I am finding it too complex for me to write. I also like watching murder mysteries and I have read a few too. I find this type of genre a lot of fun. The problem with me is that I give up too easily. Like for instance I started planning a fantasy story for a few months now, but it's getting more complicated and I feel now like switching genres. Do any of you feel the same way as I do? How do you overcome it? <Q> You don't specify what length of story you are trying to write, but a novel, at full length, is a highly complex piece of work regardless of genre. <S> If you were learning to be a programmer, you probably would not choose to write an enterprise content management system as your first project. <S> Most writers begin by writing short stories, simply because they are a simpler form that you can get your head around as a beginner. <S> Now, the short story is an artform in itself, and you may not manage to reach the heights of the great short story writers. <S> But a great short story is something simple done extraordinarily well, and it is the simplicity you want as a beginner. <S> Short stories may not be the thing you really want to write, and there is certainly very little market for them these days, but the same is true of most of the programs you would write in your early days of learning to code. <S> Writing short stories will help you learn basic story structures and, perhaps just as importantly, it will teach you to finish things, and show you that you can indeed finish things. <S> Start with a project of manageable size and complexity. <S> That way you will get to learn the basics and become comfortable with them so that it will be easier to tackle a larger project later on. <A> When you say "fantasy," I assume you mean "world-building" as well. <S> That involves many elements, all of which are fantastic. <S> It can become very complicated. <S> On the other hand, murder mysteries do not involve world-building. <S> Characters are in a realistic location, where they say and do realistic things. <S> I suggest that you do some reading by authors Algernon Blackwood and H.P. Lovecraft. <S> Blackwood's work can be found online, as it is past copyright. <S> Both of them are likely to be in any well-stocked public library. <S> I recommend these authors because they (often, not always) write fantasy, but it is largely set in the author's own place and time. <S> This remains understandable to us today. <S> There is not much world to build. <S> Blackwood prefers to have a very small fantastic element, in stories that otherwise would be literal truth. <S> Lovecraft preferred to have a larger element of fantasy, sitting beside the ordinary world. <S> My point: To get from nearly-factual murder mysteries, to largely-unfactual fantasy, start small: <S> Read fantasy with a small or confined fantastic element. <S> Begin here: <S> "The Wendigo" by Algernon Blackwood. <A> In the modern era fantasy writing is perhaps a genre on its own. <S> (I'm not a fan). <S> It is more in line with traditional writing from previous centuries. <S> Examine the following: As we took off from Charles De Gaulle the Eiffel Tower shrank to a mere child's toy. <S> The next time I opened my eyes the skies were clear. <S> From the cabin window I witnessed Everest in all its glory. <S> As we approached Sydney, the sun glistened off the Opera House roof. <S> In the modern era, media has shown us images of all that is known. <S> In writing I've no need to describe anything - the task is to ask you to recall your brain's stored images. <S> This engages the reader and is akin to visual empathy. <S> The method is fast and engaging. <S> It's a psychological effect. <S> If I write a story about a high-school romance the reader will instantly connect. <S> If the reader hasn't experienced the same - they have witnessed the scenario and will recall the experience. <S> The reader will build and manufacture all ancillary scenes and characters themselves. <S> With fantasy you're building a world which you asking the reader to buy into. <S> Not an easy task.
| You would find it far to complicated, not simply because of its size, but because of all the different elements of software and system design that would be involved in making it all work. The older you (the writer) get, the easier it is to write this genre, since you have a large stock of experience that you can use. Fantasy requires the writer to describe images that are new to the reader, often resulting in TLDR.
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What should I do if I know the antagonist but too many options for protagonist? I have decided on my antagonist for my first novel. They are pretty much being brought back to power by traitors in an otherwise squeaky clean institution. It's the protagonist I'm not sure about. I have several options and two in particular. They are all involved in fighting the antagonist but I'm not sure who should actually be the "main" character. This probably seems weird and I guess it's because I'm a novice writer. I'm thinking of teaming all of these potential protagonists together and just let things flow for the first draft but my problem is that now I am unsure about POV which brings me to my second question: Which POV should I use? I'm thinking of doing multiple POVs like Game of Thrones but sometimes it makes it hard to get used to all the characters. I then think to just stick with one viewpoint. But with so many potential main characters it makes it difficult to decide. I've also considered writing from the antagonist's view but I want them to be feared and I don't want the reader to know what they are thinking. Anyone have any ideas? Thanks in advance. <Q> Some ways to sort it out: <S> Which character will have the hardest time dealing this particular antagonist's tactics, strategies, and goals? <S> Which character will have the hardest time doing the final thing that is necessary to defeat this antagonist? <S> (Maybe some moral value that the character would never, ever violate.) <S> Which character will suffer the most from the specific kinds of things that this particular antagonist does? <S> Which character is this particular antagonist most motivated to harm (or destroy)? <S> Which character has weaknesses that this antagonist is peculiarly able to exploit? <S> Which character most strongly represents the opposite of the antagonist's primary qualities? <S> Characters like that will have the most difficult and interesting conflicts, given the things that make your antagonist unique and interesting. <A> You say you're a novice writer <S> so I strongly suggest you just write! <S> You're doing way too much thinking. <S> Let it flow. <S> My first novel had the classic hero + villain + love interest. <S> It took on a life of its own when the love interest decided to kill the hero and the villain. <S> You should write your first few novels for the journey, the experience. <S> Once you've developed your characters you may find they have different plans to you. <S> I've had villains who really and truly thought they were the hero and heroes who are corrupted by their own halos. <S> Sometimes its a case of putting a a fire ant, a mosquito, a beetle, and a cockroach in jar a watching what happens. <A> Eventually, the choice may become clearer, but the effort spent on the other will not have been wasted. <S> That person could become a third, rational, "balancing" character that serves as the "adult chaperone" for the other two. <S> Unless you decide to marry the to candidates to each other. <S> In one story I wrote, I started with two male protagonists, and then changed one of them to a woman so that they could get married and become one "protagonist." <S> If the story warrants it, you can have two points of view characters. <S> The example I can think of is "Treasure Island" by Robert Louis Stevenson. <S> Most of the story was narrated by Jim Hawkins, the cabin boy, but Dr. Livesey took over the "protagonist" duties when Jim was "missing in action." <A> You can also come from the angle that you don't need a clear cut MC from page 1. <S> There are many stories out there where a group of people start out together <S> and it isn't until a conflict point happens that the MC rises up above everyone to become their leader or to save everyone or what ever <S> it is you want the MC to do. <S> There are also stories where the person you think is the MC ends up dying within the first couple chapters and a new MC or the real MC is then displayed if they are not already in the story. <S> Don't be afraid to write the story with options! <S> So many people think that they need to write with everything set in stone. <S> Just write! <S> Have a group of 5 people 10 people be your potential MC. <S> Some times, you might find that the character you had in mind to be MC turns out to be the least likely candidate after you start seeing how it unfolds. <A> In your situation, I would consider three possible approaches but there are others. <S> 1. <S> Tell several stories <S> This approach just allows each protagonist to have their story arc against the antagonist. <S> The antagonist is the character that ties these shorter stories together. <S> this is a lot of work as you have to help the reader to care about each protagonist in each short. <S> Anthology stories, where there is an overarching story that runs across several shorter stories can be really interesting but they are much, much harder to make compelling. <S> Only try this if you are very confident in your abilities. <S> 2. <S> Use the antagonist as the point of view character (or even narrator) <S> This solves your hook character as the story is now essentially the rise and fall (tragedy) of the antagonist. <S> On the plus side, you will have an easy time creating a sympathetic antagonist but on the other side of that coin, the "protagonists" are likely to be less compelling. <S> 3. <S> Use a neutral audience surrogate character <S> This is the approach that I would recommend for new writers. <S> It gives you a single protagonist to tie the story together. <S> Admittedly this character is effectively the side-kick to every other character and you will need to work hard to give them reasonable motivation to stay in the story. <S> In many ways, this is not so different from the "Tell several stories" plan. <S> However, you are pretty much assured of interesting characters for your viewpoint character to interact with and someone for each successive protagonist to interact with. <S> Which, trust me, makes characterisation a lot easier.
| Now that you have your antagonist, you may want to experiment with writing two "partial" stories with each of the two candidates as the protagonist. Write the story and see how it evolves. Effectively your antagonist is the tragic protagonist and your protagonists are now antagonists (it's all a matter of perspective after all).
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How do I turn a "screensaver" into an actual story? I am capable of dreaming up interesting settings and even placing things in a world, but I have trouble dreaming up characters and plot. Example: my first aborted attempt at a steampunk story ended when I realized I had literally asked for help coming up with other steampunk-y tropes to fit in to my story. I was creating a screensaver, not a story. Meanwhile I read amazing, compelling, and driven stories that keep me thinking about them long after I finish. These stories have strong characters and plot. The characters act naturally and convincingly, and the plots are character-driven, not setting driven. I want to be able to write a story like these. I know there are a million and one variations on "How do I write a good story?" My specific question is "How do I imagine characters and plots the way I can imagine settings?" For context, I'm trying to write an adventure delivery quest: a character discovers an ancient, terrible weapon, and has to take it to be destroyed (very Fellowship of the Rings, I know.) <Q> At the heart of every story (or most stories, anyway) is a character arc, and in the center of a character arc is a decision, a hard decision, a decision that will cost the character something valuable, that will make them face the question of what sort of person they are or want to be. <S> Plot exists to bring the character to that moment of decision and to show what happens as a result of the decision they make. <S> That decision, therefore, is not a bad place to begin thinking about character and plot. <S> One way into this is simply to ask yourself, what would it be like to have to choose between X and Y. <S> There are two key things about that choice. <S> First, it must cost the character something. <S> Second, the character must not want to make that choice. <S> So then your character development begins with, why is this choice hard, and why does the character resist making it. <S> And your plot development begins with, what series of events will bring the character to the point where they have to make that choice, and what will be the consequence for them of making it. <S> Stories can, of course, be more complex than this makes it sound. <S> Frodo has many points of choice in LOTR, and (lest we forget) chooses wrongly in the final crisis. <S> There is a huge amount of other stuff going on, and other characters have their own arcs and their own choices. <S> But that is the bones of the thing. <S> It is a place to start. <S> Not, certainly, the only place to start. <S> But it may give you some insight into who you need your characters to be and what your plot needs to put them through. <A> My high school teacher gave us some writing assignments that forced us to focus on short scenes. <S> She would give us a picture (usually of a painting) where you could see one person, or more, halfway through an action. <S> Then we simply had to imagine who that person was and what was happening. <S> This technique produced some interesting short stories and helped us to think about the motivations of the character we were just meeting. <S> I think it might help you focus on plot and character and get the hang of it. <S> For example, take this painting by Norman Rockwell . <S> Let the characters, their wishes and their emotions bring forth the plot: <S> does the fight lead any of the characters to rethink their marriage? <S> Or this one by William Mulready . <S> What could be in that letter? <S> What will the woman do in response to it? <S> Personally, I think it's best to do these exercises with paintings as the figures are imagined. <S> Working with photos can lead one to focus on the real story and real people. <S> But if you prefer photos, then by all means. <S> I do advise to choose images that allow the story to have action (in the sense there is a situation that requires the character to act, rather than sit back and reflect). <S> Most paintings I use are a bit dated (not to say a lot), but sometimes, if we swap the clothes for modern ones and swap, say, the letter for a tablet (email), you can make the situation contemporary. <S> And there are also paintings that refer to our modern age, like this one by Robert Lenkiewicz . <S> But you can also take the painting and give it a steampunk or fantasy feel by imagining different clothes. <S> Paintings like this one by Robert Griffing always give me a sense of adventure. <S> Or you can just pick an adventure themed painting like this one by Jakub Rozalski . <S> Remember the key thing about this exercise is to have one person (or more) in the middle of action. <S> Don't start with setting but with dialogue or action and let the setting become clear as the plot progresses. <S> Some images will only allow for a short story, but some can grow into long novels if you let them. <A> I had the same problem when I was a kid, and I solved it by understanding the concept of Action . <S> In your stories you have people (characters). <S> It's not a story until they DO something, and this something <S> changes something else. <S> So put a guy in your amazing setting, and let something happen to him, or make him do something. <S> And remember that stories are built on but . <S> Rick is a skilled scavenger, but one day he gets arrested by the corporation. <S> Jenny wants to become a jet pilot <S> but she gets kicked out of the academy. <S> B3X7 is a dutiful droid, but it discovers to have feelings. <A> We write best what we love most. <S> For me, I love people and pay a lot of attention to them, but not a lot of attention to places and things, so my characters are strong, but my settings and descriptions are weak. <S> Since you have the opposite problem, I'd suggest spending some concentrated time observing people closely, talking to them, listening to their stories, and trying to understand them at a deep level --both strangers and friends. <S> After doing that for a while, your characters should start to become deeper and richer. <S> As far as plots, reading a lot of myths and folk and fairy tales from all around the world is a good way to get a feel for plot at the most basic, essential level.
| Just look at it and start writing the words that fit the scene.
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"just telling the tale" - does this work? I know (I think) many stories that have a point they want to present to the audience. However, I wanted to focus on the excitement of the adventure first.The result always seems to devolve into a dry style as though reading a manual. On the other hand, focusing too much on "proving a point" comes off more as preaching to the audience, and ends up muddying the story. Should I be aiming for a happy middle ground between the two, or is it possible to write a satisfying story that revolves around the characters rather than, say, a moral? <Q> Stories are not about proving points. <S> The great novelists who had a point they wanted to make (Steinbeck, Dickens) told a story about people oppressed by the institutions they opposed and by and large left the reader to draw their own conclusions. <S> They created an experience with sympathetic characters and in so doing won the sympathies of many who might otherwise have been indifferent. <S> But the real question you have to face here is what makes a story exciting? <S> It is not a catalogue of incidents happening for no discernible reason to people you don't care about. <S> Just telling the tale, in the sense of just relating the incidents of the plot, does not work because it does not create engagement. <S> Between the plot and the point, there must be a character arc. <S> At the heart of the character arc is a moral question that the character must face. <S> By moral question I mean simply that it is a question about values for the character. <S> It does not have to mean the the writer is advocating for one moral system over another. <S> But it is the moral question that the character faces, how they face it, and how they decide that provides the core of the excitement for the reader. <S> Will Rick remain the guy who won't stick his neck out for anyone? <S> Will he get on the plane with Ingrid Bergman? <S> Or will he decide the the problems of two small people don't amount to a hill of beans in this crazy world? <S> Will Louis let Major Strasser arrest Rick for letting Laslo escape or will he to join the resistance? <S> These are all moral choices that the characters do not want to have to face, but are forced into facing by events. <S> That is where you find the excitement in a story. <A> What do you want to achieve? <S> In the 'free market economy' bad news doesn't sell. <S> Good must always overcome evil, wrongs must be avenged. <S> "How I got away with killing the neighbour's puppy" isn't going to sell - however well it is written. <S> The "dry style" is probably unrelated to whether or not your story has a moral. <S> Writing a novel requires a different style and skill-set than other disciplines. <S> Most people would loathe to read a 100,000 word newspaper article. <S> Hopefully you will discover how to make your work more suspenseful and intriguing. <S> But a linear tale of 'things that happened' is extremely hard to pull off. <S> Readers need a reason to turn the page. <A> It's not enough to "show what. <S> " The more interesting task is to show why. <S> Take the children's tale of "The Tortoise and the Hare. <S> " <S> A tortoise challenged a hare to a footrace. <S> All the other animals came to see the "lopsided" race. <S> The hare got off to a good start, took a large early lead, and then went to sleep halfway through the course. <S> The tortoise persisted, overtook the hare, built a lead, and got to the finish line first, despite a late burst by the hare. <S> That's a "show what" story that is suitable only for children. <S> Most adults would be interested in the "show whys. <S> " Why did the tortoise challenge the hare to a race at long odds? <S> Was s/ <S> he tired of the hare's boasting. <S> Did the tortoise feel that the hare would be overconfident and not take the race seriously, or perhaps had earlier observed the hare's tendency to procrastinate? <S> Was the hare "hung over" on the day of the race, and did s <S> /he have a drinking problem? <S> Any of these factors would "shorten" the odds, and make the challenge less improbable. <S> Let's look afterward. <S> Would the hare challenge the tortoise, the new "champion" to a rematch. <S> Would the tortoise dare to accept? <S> Or would the tortoise "retire" from the field, having made a point.
| "Just telling the tale" doesn't work. A novelist may have a point they want to push, but if the point overwhelms the story than the result can only appeal to the people who already agree with the author's point.
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Can publishers accept spacing between paragraphs? Reason I ask is because every time I use indents the paragraphs end up all on the left side in a straight line but if I space the paragraphs it doesn't. <Q> Many publisher will have a format they want material in, conform to it. <S> If you are a writer, I would recommend you fork the money for a local word processor on your own machine rather than the Google editor. <A> Times may have changed in recent years, but I would think that Google Docs is not at all useful for publication. <S> I've used it to write documents at work, and it offers annoying little control over formatting. <S> Furthermore, there is no feature to “export” to another file format. <S> And any publisher will want a file they can hold locally and manipulate, not a URL that can’t be input into their publishing software. <S> I suggest getting the free Libre Office. <S> And don't worry about the formatting per se, but rather make sure everything is assigned to a named style, not applied directly. <S> This will let you restyle for nice PDF or ebook, or generate the double-spaced typewriter output that traditional publishers want. <A> I would highly recommend you follow your publisher's style guide. <S> In fact, some publishers won't even accept you if you don't follow it. <S> It is instrumental that you check if your publisher has a specific manner in which they want you to lay out your work as well as how strict they are on it. <S> I also suggest you stop using google docs. <S> I almost chuckled when I read that because Microsoft Word is the better and more accessible option. <S> Google docs offers very little flexibility in formatting and in my opinion, is a bit frustrating to work with, perhaps because I have a poor internet connection though. <S> In short, you should: <S> Consult a style guide Switch programs. <S> Use something better than google docs.
| Often a publisher will have a specific manner in which they would like your manuscript laid out.
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How to: descriptive writing I've been writing for a while now, and everyday I feel I'm getting more serious about it. But the quality of my fiction stories are straightforward and blah. I notice I'm not using enough descriptive words and even when in trying to it never turns out. Like here is an example. What I wish mine was: "His legs felt like cooked noodles. If he ran one more step he would collapse to the floor." What mine is: "His legs felt awful. If he ran he be using up the last bit of strength." Q - How can I write with descriptive words that really put the reader in the protagonists shoes? Thanks. -A.N.M. <Q> The Carnegie Hall method: Practice, practice, practice. <S> You were able to come up with the cooked noodles metaphor, right? <S> So clearly your describing skills are not broken. <S> You just have to work them out. <S> Get a notebook. <S> Moleskine, marbled-cover, stack of pages stapled together, whatever works. <S> Set aside time every day — start with 15 minutes and work up. <S> This is your practice time. <S> During this practice time, pick something to describe. <S> It can be an object, a sensation, the weather, sunset, a person, the dog, a texture — something you can observe in some fashion. <S> Try to keep it concrete and literal at this stage. <S> Write down your descriptions. <S> They can be prosaic at first (grass is green), but you must work the whole 15 minutes. <S> After you've stated that grass is green, you have to come up with something else to say about it. <S> What does it smell like? <S> Is it sharp? <S> smooth? <S> is the tip pointed or chopped off? <S> Are there other kinds of grass next to it? <S> Is it a pure green or bluish or brownish? <S> This forces you to a) really look at something b) put your observations into actual words c) <S> write those words down. <S> There's a similar question on this Stack about describing pain which you might find useful: Effective techniques for describing pain <S> Eventually you will go beyond "grass <S> is green" and start coming up with figures of speech just to have something to say to fill the 15 minutes. <S> The more you do this, the easier it will become. <S> Once you've gotten better at Things You Can Observe, start practicing with Things You Can Remember. <S> When you feel comfortable with transcribing your memories, you can start practicing with Things You Can Imagine. <S> And that's when "legs like cooked noodles" will start to pop up. <A> You can't really focus on describing feelings. <S> The key is to get the reader to recall existing feelings. <S> Let's examine your wish: "His legs felt like cooked noodles." <S> This is semi-ambiguous. <S> How exactly does a cooked noodle feel? <S> "If he ran one more step he would collapse to the floor." <S> Where else would he collapse to? <S> Compare:"The <S> moment she heard the shot, her mind told her to run. <S> All around she could hear screaming, shouting, and mayhem. <S> When her throat began to burn and her lungs felt as if to explode, fear told her not to stop - just keep running, as fast as she could." <S> "When her throat began to burn and her lungs felt as if to explode . <S> . . <S> " - Every person who has been involved in competitive sports or pushed their physical limits knows that feeling. <S> Anybody who runs knows its the respiratory system that hurts first. <S> In the moment legs do not feel tired - they simply refuse to obey instructions. <S> "Write what you know? <S> " dictates the ebb and flow of your story. <S> You can go to town, really detail, events similar to those you have experienced - not so much detail on the rest. <S> You can also map one experience onto another. <S> e.g. I suffered from sleep-paralysis as a child. <S> I can use that experience to write 'being dead' or 'locked-in syndrome'. <A> Surtsey’s answer hints around showing vs telling but does not follow through on the concept. <S> It’s all about point of view, how your character sees the world through their own filters and limited knowledge. <S> Let’s looks at your example: His legs felt awful. <S> If he ran he be using the last bit of strength. <S> This is telling. <S> Change it to showing. <S> Show evidence that he felt awful as opposed to telling us its awful. <S> For example: Pain raced from the tips of his toes to the joints in his hips. <S> This is evidence that he felt awful. <S> In this example avoid the point of view error of independently moving body parts. <S> Legs can’t feel, but your character can feel. <S> Telling and showing at the same time. <S> He felt awful. <S> His legs raced with pain. <S> Complete showing example <S> : Pain raced from the tips of his toes to the joints in his hips. <S> He gripped his pelvis and groaned. <S> “I need a hot shower and whole tube of Ben-Gay.” <S> The key to description is showing evidence of the action being told. <S> A handful of common telling red flags <S> : He felt He realized He wondered He saw He heard He rolled his eyes <S> He sighed
| Write down everything you recall about a particular moment in time. The holy grail to your quest is to show the reader per the character’s point of view as opposed to telling the reader what is taking place.
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Are there any body snatchers in the present? I'm thinking of an occupation for my protagonist but being a body snatcher is from the past. No more body snatchers caught up digging graves and selling corpses to scientists, right? <Q> Wrong. <S> There is a market for body parts and tissue for transplantation. <S> Biomedical Tissue Services is one of the best known cases. <S> Biomedical Tissue Services (BTS) was a Fort Lee, New Jersey, human tissue recovery firm that was shut down by the U.S. Food and Drug Administration (FDA) <S> 1 on October 8, <S> 2005,[2] <S> after its president, Dr. Michael Mastromarino, and two other employees were convicted of illegally harvesting human bones, organs, tissue and other cadaver parts from individuals awaiting cremation <A> to be donated to said schools). <S> As Spagirl said, there is a market for body parts that could be taken from fresh cadavers (the person doing the 'harvesting' would have to be in a position that gives them access to recently enough deceased people that any tissue gathered would still be usable in transplants and such). <S> Depending on the time and place, body-snatching could make sense as an occupation (in the UK in the 17-1800s it was partly the result of religious restrictions on science). <S> Do some research in that field, perhaps, since certain places with similar restrictions could be good settings for your story. <S> Also keep in mind the way bodies are buried which might hinder any body-snatching from cemeteries in the current world (cement vaults could be problematic- see also mort-safes, the 18-19th century anti-body-snatching device). <S> And lastly, consider who your protagonist would be body-snatching for, since that could also contribute to how viable this occupation would be. <A> I don't know genre. <S> I hate fantasy. <S> New stories are refreshed when you apply old, tired themes to the developing world. <S> Your character is not a body snatcher. <S> He makes a few extra bucks by stealing and selling medical waste from the West wing of El Segundo hospital. <S> He believes he's providing evidence for Ambulance Chasers which would otherwise be destroyed in a 'cover up' of hospital negligence. <S> When the FBI kick in his door he learns the 'West wing' is the maternity wing. <S> All of his payments can be traced back to Planned Parenthood . <S> . . <S> Oh, wait <S> - he is a body snatcher.
| In the UK body-snatching was the primary source of bodies to medical schools (this was made unprofitable as an occupation with the Anatomy Act, which made it legal for the bodies of criminals, the unclaimed poor, etc.
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How do you handle slang with questionable spelling? Imagine the following common conversation: Q: What are you up to? A. The usual Now imagine it spoken by certain kids these days: Q: What are you up to? A: The yooooshj. My question pertains to the utterance "yooooshj," which is a shortened form of "usual" made up solely of its first syllable. When writing dialog in fictional narrative, how do you spell something like this? How, in general, do you handle slang that has questionable spelling? <Q> There is no particular criterion for this. <S> For the example you gave, my answer is a firm "maybe. <S> " <S> Would your target readership grasp that? <S> If so, OK. <S> If not, then substitute something such as: <S> He mumbled, " <S> The usual," in that childish manner designed to irritate me. <S> But this works both ways. <S> My suggestion is rather formal, which might not be sytlistically compatible with its surroundings. <A> There's no hard and fast rule <S> --you want to make it as readily recognizable as possible. <S> Sometimes there's an accepted slang spelling. <S> If so, find it and use it. <S> If not, if you can construct it out of known words, do so. <S> If not, give the simplest phonetic rendition (rather than the most accurate one). <S> "kewl" (for "cool", <S> it's a well-known written variation) <S> "adorbs" (for "adorable", since it's easy to break the real word in half) <S> "the yoosh" (for "the ususal", since "ush" doesn't help phonetically or lexically) <S> In general, use it sparingly, for color and flavor. <S> Slang is inherently distancing by nature, and readers will easily tire of too much of it. <A> Go for it. <S> It's better to show, not tell. <S> Don't describe accents, include them in your dialogue. <S> Just be consistent with spellings and try to get them as close to the standard spelling as possible. <S> Of course the challenge is balancing that with clarity for the reader. <S> Don't use three ' <S> o's if you are emphasizing the 'yoozh' as a short form. <S> Extra vowels convey length. <S> If your character is going to say 'usual' the 'yoozh' or 'yuzh' you could explain it the first time it's encountered. <S> Perhaps something like this: ''What are you up to?'' '' <S> The usual,''pronouncing it the yoozh , in that youthful affectation. ' <S> ' <S> Like what?'' <S> ''Chilling, Facebooking, just the yoozh . <S> Sup?'' <A> Non-english speaker here. <S> I would go for it. <S> If the pronunciation is easy to get, the reader would immediately understand the sound, and therefore the meaning, even if he never heard the term. <S> Either the sound would sound like something he knows, either it will remind a slang <S> he's aware of. <S> Once I read about kids in a novel repeating "I dunno" all the time. <S> I had never heard the slang for "I don't know" before, but after few times I got the meaning. <S> It's better to add some "colour" than to go over heavy exposition ( "I don't know", he said, in his typical accent - a very bad choice in my opinion). <A> I don't recommend phonetic spelling of slang. <S> There are two issues (1) <S> The validity of the word (2) <S> The sound of the word. <S> The urban dictionary contains a comprehensive list of slang. <S> I recommend you consult it. <S> Your conversation would probably read: "Wassup?""Same ol'"
| I advise you to avoid the slang spelling, unless it will be commonly understood.
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Where do I write 'The End'? Background Woohoo! I literally just finished right now my masterpiece trilogy that I have worked on for what seems like, ages... I'm a bit vexed as to where I should write 'the end'. The epilogue plays a huge role in my story so I wasn't sure whether to write it at the end of the epilogue or at the end of the main story. Question How do you determine where you should write 'The End'? <Q> Actually, I would not normally write "The End. <S> " If there is an abrupt change of POV (often the case), that can be signaled by other means. <S> Whatever happens in the Epilogue, and it should be short, typically represents either an outside view, or a brief comment by one of the characters. <S> Not always. <S> However, a long Epilogue, which is actually a continuation of the story, is rare. <S> Remember the movie "American Grafitti"? <S> After the story finished, just before the closing credits, there was a brief display of the fate of its major characters, several years later. <S> (X married Y, Z moved to Timbuktu <S> , W joined the Army; something like that). <S> That was an Epilogue. <S> Anothor kind of Epilogue is a bookend, matching the other bookend in a Prologue. <S> Somebody (who may or may not be a character in the story) introduces the tale in the Prologue, then tells you the subsequent reaction, after it's all over, in the Epilogue. <S> There are other ways of doing it. <S> But from your description, it doesn't sound like your Epilogue is really an Epilogue. <S> If it is non-story material (such as an explanation of the cult practices of groups involved in the story) then it should be an Appendix, or something like that. <A> Putting "The End" at the end is a trope that played out in early cinema and, for no reason, I can decern, children's stories (usually as a variant of "they lived happily ever after, the end.") <S> There is a discussion " The End " on TV Tropes (time suck warning). <S> It comes up less often than you would imagine in books mostly because the fact that you have run out of pages is a bit of a giveaway. <S> Personally, I would only include it if I wanted to subvert the practice or play with it in some way. <S> I've always wanted to end a story about fish with FIN (I love bad puns so that could be a very bad idea). <S> Another personal favourite of mine is to have a single blank page after the text. <S> For me, this is the literary equivalent of fading to black. <S> (The story is over. <S> Go read something else.) <S> If putting "The End" does not seem to fit, you can always leave it out (which I would anyway). <S> As the author, you decide which conventions you follow. <S> Also by not explicitly saying that it is over forever, should you want to do a new cycle with the same setting, you have left that option open. <S> TL;DR: <S> Don't worry about it. <S> Those two words are the least important ones (unless you are determined to put them in). <A> After the last word of the story, before any aftermatter like a glossary, author's note, list of characters, timeline, or appendix. <S> So yes, after the epilogue, because the epilogue is still part of the story even if it's the denouement and after the climax. <A> In olden days writers would type "-30-" or perhaps "###" as a centered line following the last line of the manuscript. <S> This would be intended to show that there is no more to someone reading the manuscript (such as an editor at the publishing house to which it is being submitted), lest somehow the final pages (e.g., an epilogue) may have been misplaced. <S> Since a work of fiction often has no contents page, that oversight could potentially occur. <S> However, when I began my career in book publishing over 50 years ago and learned to evaluate manuscript submissions, this practice of indicating "The End" was already considered amateurish, even if the writer did it intentionally with some irony in mind. <S> If it pleases you to make some final mark at the end of your work, go ahead, but in digital files there is little to no doubt <S> what is the last page, from the reader's perspective. <A> You should write 'The End' where the end is, and nowhere else. <S> Odds is, only you know best. <S> Where does the reader get the feeling of completion? <S> Where does the circle of events close, and the rest is only history for the fans? <S> Exactly where the story would be complete, if the reader stopped reading...
| The concept of an Epilogue is that the story is over.
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Right approach to introduce a character on a script I'm writing a script for a short film so I'm trying to keep the things that are kind of dispendable, away. The story of the script starts at a bar, with the friend of the main character, a boy, having a small talk with a random girl. Only after that, the main character, a girl, appears on the story. She's kidnapped not long after and now we barely see him until close to the end. The main character is only introduced to the story after a couple of minutes and it's on a conversation with her friend so there's not much focus on her. Does this mean that the audience might start to like him from the beginning and want to see him, but after she is kidnapped he clearly isn't going to appear much, leading to a less loved, or less appreciated, main character due to favoritism of a secondary character? Any other useful advice is always welcome. <Q> There is a long tradition of false starts and audience mind screws where the viewer thinks they know who the main character is only to realise that they were wrong. <S> Think about Psyco, for example. <S> That was certainly not where you thought the film was going (the first time you saw it). <S> There is nothing wrong with bringing the protagonist on stage some time into the story if, and only if, what went before is vital for the viewer to appreciate the story. <S> If you could cut it to up the pace, what you have is the movie equivalent of an info dump, or worse, padding. <S> Otherwise, you have a time wasting prelude (in my opinion). <S> On the whole, the audience will connect with whichever characters are on the screen (or loose interest). <S> They may expect this first character that they met to be important later on <S> so if we never see them again they may feel cheated. <S> Again, that depends on how you tell the story. <S> I would recommend that you focus on leaving the audience caring about what happens to the victim and everything else will fall into place. <S> Write it, then fix it. <A> It seems like you have no real point of showing the friend first before the MC, from what I can tell on what you've written here. <S> The only time you should not show the MC first is if it's vital to the story. <S> People are so used to seeing the MC's first, that usually the first person they see on screen is assumed to be the protagonist. <S> I've watched a lot of things where this isn't the case and it gets confusing because you think "Oh, they're the MC." <S> but wait- <S> they're gone <S> and it's now actually someone else. <S> It seems the way you're setting it up with the friend being the opening shot, that he should play some sort of a bigger role. <S> He doesn't have to be the MC, but people, in seeing him first, may begin to wonder about him throughout the film. <S> If you don't want to have him until the end, it could work if you made it so that he had some big role in her kidnapping all along. <A> It's a tricky ask because you are delaying the appearance of your protagonist in a short film. <S> If you were writing a full length feature then by all Means, play around with the intro a bit and see how her introduction paces out. <S> But depending on how short a script you're talking, you don't want to waste too long introducing her. <S> That said, it could be an interesting slant for you to hold back on her, but as she's the protagonist you'll need to find a way to involve her without her appearance. <S> Perhaps messaging, so she can talk without being present on screen? <S> Maybe said foil is telling a story about her or extolling the virtues that make her your viable lead. <S> The idea is we need to relate to her, and we can't do that <S> if she isn't there in some capacity, be it physical or otherwise.
| As long as the content prior to the "important" characters appearing is pertinent and the viewer can understand that it is that is fine. It could surprise the audience and justify why he was seen in the beginning. No good came of trying to fix something before it was written.
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How much of a character's past/background should I let on? I've been starting something really interesting lately, which is writing each of my main character's back story before writing the main book (If anyone is having the dreaded block or is looking for a way to know their character's better I really recommend it). Which got me thinking, how much of it should I include in the main book? Flashbacks not included, a character's back story is a very important puzzle price in the whole book. I have always found it hard to not put everything I know about my character's in the book but it's crucial that I don't convey everything. So the question is how much should one know about a character's past?? <Q> You develop the character so that the actions s/ <S> he takes make sense for the plot. <S> If the character reveals something about his/her past, there should be a plot-related reason for it. <S> (That reason might be another character's reaction, or how it furthers a relationship, but there has to be a reason.) <S> Otherwise, keep it in your slush file and read it to yourself if it makes you happy. <S> But don't clutter up your manuscript if it's not relevant. <A> You have probably done yourself a great favour by working out some character background. <S> It is something I recommend to new writers because it helped me so much. <S> The thing you need to remember is who you are writing for with the background. <S> The background is for you, the story is for the reader. <S> In any given scene you include what is necessary to advance the story. <S> However, the background work that you do will flavour, sometimes very subtly, the things the character will say and do. <S> If you have done your background work well and truly realised the characters before writing you may be surprised to find that readers are able to work out facts that come very close to the background without every explicitly having been told int he story. <S> For example, imagine a romance subplot where the protagonist has been through three bitter divorces. <S> Her friend decides to leave her husband for no good reason). <S> Her reaction is not just to prudishly disprove as in your original plot plan. <S> Instead, she is going to act like her friend has done something very self-destructive, maybe even hosting an intervention. <S> There will almost certainly be a moment where she says something like "you have no idea how bad it can get." <S> Thus, implying personal experience. <S> That personal experience was something you discovered during background and is part of what shaped the character. <S> 99% of the time the background writing is just for you <S> and you will almost always work out a lot more than you need to put in. <S> Tolkien spent his life world building which is why Lord of the Rings seems so rich and real. <S> he left out far, far more than he included. <S> What he included was, for the most part, what was needed for the story. <S> Just let all that work rest in your mind and you will find that the characters are better realised and the story flows much better as a result. <S> The readers might not know how much background they missed out on but that does not matter - they will know that they enjoyed your work. <A> You can (and probably should) tell your characters' background stories, but you should also ask yourself a question - "would it make my book better? <S> " <S> There are a few rules that I think are important: <S> If done right, background stories would provide much help with character development. <A> When you write your main story, you "show what. <S> " The back story gives the motivations of the characters for what they do in the plot. <S> Put another way, it furnishes the "whys." <S> Therefore, you should disclose enough of the back story to show why people say and do the things they do. <S> You (usually) don't need to give details about peoples' hobbies and interests, unless, of course, they're relevant to the main story. <S> But the flip side of that is every action undertaken in the main story should be motivated by something else in the story. <S> If that "something else" starts in the back story, it should be pulled into the main story. <S> That basically answers your question about "how much." <A> The answer to your question is "as little as possible". <S> The need for back story is symptom of a poor exposition style. <S> It usually means you 'the narrator' want to tell the reader everything. <S> Effectively you are inviting me to your house and telling me all about your Barbie dolls . <S> . . <S> You'll bore me. <S> I want to play with them. <S> Rather than you tell me Elizabeth served in the military, was raped, and it was all covered up. <S> The reader could learn about her military experience in the scene where she's interviewed for her new job. <S> They'd begin to suspect something bad happened to her extreme reaction when a date attempts to steal third base. <S> Eventually, she'll spill the beans to her therapist. <S> Unless it's relevant to the story there's no need to for back story. <S> "Back-story" is also as misleading term which only applies to very few styles and genre.
| A backstory should be interesting by itself; A backstory should be relevant to the main plot, or at least provide some important answers to the questions the reader would have about the characters; Backstories should not hijack the main storyline. Only put in what is necessary for the plot.
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How to: More Words I want to be able to have at least 2,000-3,000 words per chapter. But when I finish my chapter outline, it comes to around 1,000 words. I then go back and it is about 1,300 after edits. I want to know if there are any ways to add more words, WITHOUT adding a lot of events, because then it would be too much. <Q> (list is non-exhausting) <S> Expand on descriptions, use all senses. <S> Include history of places and possible futures. <S> Add non-plot characters that interact with heroes or environment to establish feeling and alien/familiariy of story in chapter. <S> Other... <A> A chapter is an seemingly arbitrary division within a story. <S> Ac chapter may contain one of more scenes or transitions. <S> Chapters are as long as they need to be. <S> One of my stories contains an 8000 word chapter - it's an epic. <S> I have seven characters in the same scene. <S> If each character has something to say and do the resulting scene is very long. <S> The scene takes place in one room there is no opportunity to split it. <S> In the same story I have a scene where one character recalls the events before falling asleep. <S> The scene contains only ONE character and no interaction - it's 400 words. <S> How long is a piece of string? <A> This is the oldest answer in the book, but I think it might apply here... <S> "Show, Don't Tell" If the chapter that you have just written encapsulates an entire scene, setting up the stage on which your characters will perform, then introducing those characters, their attitudes and their actions,... <S> If it describes the consequences of those actions and then either builds to a break point, or establishes a smooth transition into the next scene,... <S> If it conveys not only the facts of what has happened, but also your character's individual motivations and goals... <S> and if it does all that in only a thousand to thirteen hundred words while simultaneously weaving artistry into the tempo and flow of the words... <S> then either you are truly gifted at choosing the perfect words, which succinctly yet beautifully paint the events of the scene in full detail upon the canvas of your reader's imagination... <S> or you are just telling them the bare facts of what has happened and hoping that their imaginations, unaided by any assistance from you, the author, will somehow grasp the beauty of what you are trying to describe. <S> You are writing fiction, not a police report. <S> Brevity is not a prerequisite. <A> Although wanting to have chapters of a certain size, it is more of a personal interest than one that your story may need or use. <S> It is okay for some chapters to be shorter and other longer. <S> Shorter chapters tend to convey a feeling of speed and increased pace. <S> Unless you are told by your editor, the story should dictate the size of the chapters. <A> If you have the right story in each chapter and you don't feel that it needs any more, then don't add anything. <S> Chapters can be short, it's not the end of the world. <S> I've just recently read a book where a chapter was two paragraphs long, it only took up half the page. <S> It doesn't matter how long your chapters are, just so much that you get your point across.
| Add more dialog & expose more of personalities.
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When writing a 1000 word short story...? There's this contest that I'm entering and I have to write something with only 1,000- words in it. Is it better to shorten phrases or to cut out details to meet the quota? <Q> Although it is unclear from your question I'm going to assume you've surpassed 1000 words and are looking to reduce your word count. <S> Unlike other forms of writing, they key good fiction writing is 'voice'. <S> If you read a good story you can 'hear' the narrator. <S> In contrast if you read newspaper article or cookery book there's no voice - just clear and succinct information. <S> If you remove unnecessary words and phrases from narrative you are messing the writer's voice, rhythm and natural flow. <S> The most common error of new writers is provide unnecessary information (particularly at the start). <S> I woke up in bed. <S> I looked at the clock. <S> It was 8:30. <S> I was late. <S> -"I woke up. <S> " Everybody does that. <S> "in bed" where else would you be? . . . <S> this tell us nothing we need to know. <S> Compare: <S> I pulled into the office parking lot. <S> "Johnson, you're late," said my boss. <S> What information is stated or implied in the second opening.(1) <S> The character has a car.(2) <S> The character has a job.(3) <S> The character works in an office.(4) <S> The character is late for his job.(5) <S> The character's name is Johnson.(6) <S> The character is a subordinate. <S> It's a more efficient way of writing. <S> Your sentences must have more than cosmetic appeal. <S> What information are you imparting? <S> Is the information relevant? <S> Will it become relevant? <S> Does the reader need the information now? <S> What is stated as what is implied. <A> It's hard to say in advance, as both could be helpful. <S> The best thing in my opinion would be to write first without limiting yourself either way, with the goal of reaching about 1300 words. <S> Then, once you have this first draft, think about the best ways to shorten it. <S> You will probably end up with some combination of the two approaches you described. <A> The answer is YES . <S> Focus on the essential: what happens. <S> When in such a tight constraint, you really need to apply the rules of Chekhov's gun . <S> In short, it means "if you put a gun in act 1, someone gets short in act 2" Theater speaks for if something is not directly linked to the action happening you don't need to mention it. <S> Then on that draft I will edit, either with an eye for cutting or adding words to get as close to the goal as possible. <S> That way I work from something instead of worrying about what I need to do. <A> I would do a short story, I like using a lot of detail, but in a contest, I think it will be difficult if you want to win.
| Personally, what I do is I write the story as a first draft to the point where I can say that was what I wanted to write.
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Question regarding narration and 1st - 3rd person swaps I'm currently in the process of writing my first novel, and I'm a little unsure about one of the main features of my writing process. To summarise quickly, what i intend to do is have a short section at the beginning of each chapter where the late husband of my protagonist describes parts of their lives, giving a little bit of insight into the upcoming chapter's story. Looked around for other people's views on this but couldn't find any, and wondered how one would structure that, and how good of an idea it actually is. Random example: That's the Sam i knew, she always hated the dark - It was dark, Sam hated it <Q> How about introducing the 1st person narrations as excerpts from the narrator's diary? <S> You could write something like "xxxxx's diary. <S> 6/8/2017 <S> : ... <S> " and then write the chapter in 3rd person narration <A> If it's really short — no more than a few paragraphs — set it off with italics. <S> It should quickly become apparent from context who the first-person-italics character is. <S> If it's pages and pages, make the husband's parts interstitial bits between chapters of Sam's story, and label them as Sam and Dean or whatever. <S> Labeling the chapter by the POV character when you have multiple POVs in a novel is very common and easy to follow. <S> Don't write four pages of italics. <S> It's visually exhausting. <A> There is nothing for you to do structurally. <S> What you're proposing is third person scenes with first person transitions. <S> The technique if very popular in ghost stories because the first person cannot create confusion by appearing in a scene. <S> Technically the style is no different to first-person. <S> Here's an example where the first-person is "Granddad" (Coach Cole). <S> Granddad is the narrator and narrates at the beginning of most chapters. <S> I really didn’t expect to set eyes on Errol again for the remainder of my years. <S> Back in 1999, my eldest grandson had been sentenced to an undetermined length of imprisonment after he’d taken revenge and killed two of his father’s murderers. <S> I didn’t write him. <S> He never wrote me. <S> His presence here, today, unsettled me. <S> I needed to take some time alone to consider the implications of the return of the fallen one. <S> Half-time, and we were losing. <S> The troops needed to be rallied. <S> Plans and strategies needed to be actioned. <S> In my absence, and as team captain, Wesley stepped up, made my excuses, and talked to the team. <S> In the light of what had just taken place, he seemed extremely focused. <S> "We're still in this!" <S> barked Wesley. <S> " <S> Apart from the one brief lapse in our concentration. <S> " <S> His mind wandered to Stuart <S> but he deliberately cast his eyes in the opposite direction. <S> "We were more than holding our own out there. <S> We don’t need to panic. <S> We are only a goal down. <S> We need to start smartly, and we need an early goal. <S> And my granddad, Coach Cole, is right. <S> In some respects many of us are still boys, but it ain’t like that’s a bad thing. <S> It’s our strength, and their weakness. . . ." <S> The first two paragraphs are known as a transition (narrative taking us from one scene to the next). <S> The narrative in the second paragraph reiterates the narrator is not present during the scene. <S> The following paragraph returns to the 'live' story.
| Any scene in a first person story where the first person is not present is third person.
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How to expose a reader to the rules of a fantastical world? I am currently in the process of re-writing my play Black Tape as a novel. Because of the change in format, more needs to simply happen - which I am entirely okay with. Main feature of the universe in which it is set is that death (and by extension afterlife, destiny and the flow of time itself) is run as a heavily bureaucratic LLC. I have considered introducing a new protagonist into the role of new employee to make transition into this world easier on the reader, but I am afraid this would drag too far away from the main story which mostly involves the higher-ups. What alternate techniques could I employ without diving into "as you know" territory? <Q> One option is not to. <S> Figure out the rules, make them very strong, and write them down, but don't put them in your novel. <S> Just make sure that everything obeys those rules. <S> Eventually the reader will figure it out just by dropping them in and the characters operating by them. <S> This gives a sort of "in medias res" feeling, and isn't for everyone, but it works to good effect in many novels. <S> It's a classic approach of David Brin, for example. <A> I think it will be useful to have a character the readers can identify with, who doesn't understand anything, but <S> that doesn't mean you have to spend all your time explaining the backstory to him. <S> After all, one of the most universal characteristics of bureaucracies is confusion and misunderstandings. <S> That character could spend the entire book bewildered. <S> He also doesn't have to take the reader away from the main plot. <S> It would be fairly simple to make him a new flunky for a higher-up, or maybe someone promoted far above their experience level for mysterious reasons. <S> The best advice I've heard on complex backstories, or really any details of the writing is from Sturgeon, via Delany, which is that you, the author need to know everything, but the characters need know only as much as the plot demands. <S> In this case, you, and the higher-up characters, should know and understand all the arcane rules of the bureaucracy, but the reader doesn't necessarily need to know any of them. <A> Perhaps the character has a cell phone or a hotline he can call when he's stuck or in trouble. <S> 1-800-Hell or something.
| Adding another character that gives you a low-down often amounts to an info dump and can make the resulting narrative heavy and tedious to read.
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Are authors who self publish respected in the writing world? From what I have researched anybody can self-publish. So it is an easier route than traditional publishing. However, since anyone can publish, that means even poorly written novels can be published. In general, do authors who have gone the traditional publishing route, respect authors who have self-published a well-written work, or are they looked down upon? <Q> The short answer is no, authors who self-publish are not respected in the writing world. <S> However, the very wording of your question reveals part of the reason why not. <S> Your question asks about RESPECT from two groups (1) <S> The 'writing world' and (2) 'authors'. <S> This is indicative of the academic biased psyche of a typical aspiring writer. <S> A 'normal' person wants financial reward over respect. <S> The 'respect' you speak of is the same respect you sought from your school-teacher and your peers. <S> "Well-written" is a peer-review and rejection term <S> it's not particularly high on a commercial publisher's agenda. <S> The writing of Dan Brown, Stephanie Meyer, or EL James is generally considered to be awful. <S> James Patterson is pretty terrible too . <S> . . <S> he doesn't even write his own books. <S> Publisher's are 'for-profit' companies who profit on volume, they've no interest in publishing 'good books' <S> they seek authors who's personal stories can be sold. <S> Once upon a time publishing was an expensive business and only publishers could publish. <S> This enabled publishers to dictate what was published. <S> Any author who possessed the finance to publish his own work (vanity publishing) was frowned upon - How dare he circumvent us, the gatekeepers, this work is unapproved! <S> I have been to third base with major publishers on more than one occasion. <S> " <S> Well-written" was never an issue. <S> "We want to market this to teens so can you remove the masturbation scene." <S> "We love this story but we are concerned about the number of children killed." <S> The digital era bought commercial publishers a whole new set of problems - anybody could publish at virtually no cost. <S> Amanda Hocking was the original self-publishing queen. <S> Sales of her ebooks reached 10,000 copies per day. <S> The publisher's problem is that under normal circumstances an author of her standing was offered around 7% of the cover price. <S> Hocking through self-publishing was earning 70%. <S> It took a £2,000,000 advance to get her out of the self-publishing business. <S> But this story is not new. <S> We recognise the plot from the music industry. <S> The Internet and MP3s decimated the recording companies. <S> Literature is just a little slow. <A> However, people who haven't read your book will probably have significantly lower expectations for its quality if they know it is self-published, and this in turn will make it harder to get people to read it in the first place. <S> Self-publishing success stories are almost always stories of successful salesmanship --the quality of the writing has a secondary impact. <A> I think as long as the published work is of quality it shouldn't matter which route it took to get to the page. <S> The simple fact is that you can't please everyone. <S> If I were a published author and went traditional and someone else made more money self publishing, I'd perhaps wonder if I took the wrong route, and vice versa. <S> But publishing is really the means to the end that most authors seek, as Surtsey rightly points out, in getting your work sold to make money. <S> To me it doesn't matter how it gets there as long as it gets there. <A> In general, I agree with Sursey's asswer. <S> I just wanted to add my 2p; self publishing lacks the nuclear weapon of publishing: MARKETING.
| If your book is both well-written and successful, people will eventually judge it on its merits, not its publishing method.
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Is Ice/Fire opposition too stereotypical? I'm writing a story where a secondary story-line (it's about a companion of the main character) is basically about a fire mage and an ice mage. It fits well in the story and the fire/ice elements aren't coming out of nowhere, but I wonder if it will bother the reader? Does it depend on whether I write it well? Or is it better that I change the elements anyway? This is a hard-fantasy story. The main character has two companions. One of them was born in a family proficient in the use of explosions, which I basically call fire magic. His father died as a rebel fighting a party of loyal soldiers (including a renowned ice user) who were killed in the process. Said ice user's son will seek revenge on the explosions user's son. This isn't the main plot, but it plays an important role nevertheless. According to my calculations, I'm in for one thousand pages, so of course there's much more to the story, BUT I wouldn't want that to discourage the reader from reading further... As for what different magic types there are: actually, I at least have psychological magic, body transformations (includes healing), explosions, moving objects, heating, cooling, etc. Ice is moving objects + cooling at least. Fire is explosions + heating at least. <Q> I wouldn't just use fire and ice. <S> The classic Four Elements (earth, air, fire, water) have been used for mythological and magical structures for many stories. <S> Look at the Avatar: The Last Airbender and Legend of Korra cartoon series just for starters. <S> Having mages whose powers fall into one of those four categories (or expand them to metal, electricity, stone, etc. <S> depending on how advanced the civilization is), with opposing pairs, is completely doable. <S> Make it the basis for all your magic, not just the secondary storyline, and if your worldbuilding works, then you're fine. <S> Sure, it's been done before, but there have been lots of vampires and wizards and mages and quests before, and the bookstores are not emptying any time soon. <S> Go for it. <A> I'm a true believer that creative writers should be 'creative' - get your own heroes, villains and themes. <S> But (commercially) we are in strange times. <S> Publishers have become global corporations with shareholders. <S> Investments must be tried and tested. <S> They are reluctant to invest in anything new. <S> Publishers publish stories from tried and tested authors whilst Hollywood invest its billions in franchise reboots and remakes. <S> Depending on your goal; following recently popular themes is a huge risk. <S> I recall: a few years ago when I was seeking an agent I discovered a couple of agencies that included "No Boy Wizards" & "No Vampires" as part of their guidelines. <S> However, if self-publishing is your route there are some readers who are obsessed with certain themes and will look at any stories including a particular theme. <A> One interesting variant I've seen on this was Mercedes Lackey's Elemental Masters series . <S> In that series Ice was not a separate element from Fire, but instead a different aspect of Fire. <S> Sort of its absence (like cold is just the absence of heat). <S> Or you could get a bit more complex, and say that Ice control is an ability you'd see in someone who has abilities in both water and fire magic. <A> I think fire and ice can be two fundamental magic forces in your story if you frame it as powers of increasing and decreasing temperature, powers of giving energy to and taking energy from particles. <A> It is a bit stereotypical, but for good reason. <S> The two are opposing forces. <S> I don't mean in the sense of physical frozen water and whatever the hell fire is, but in the sense of endothermic (absorbs heat) and exothermic (emits heat) reactions. <S> The two are opposing ends of the 'thermal' spectrum, like how midday is the opposite of midnight. <S> Using ice magic and fire magic is perfectly acceptable. <S> What would be stereotypical (and somewhat cliché) would be to make the characters a personification of those elements. <S> Typically fire-users are energetic hot-heads who are quick to anger and ice-users are oddly calm and relaxed because those traits fit the elements. <S> But if magic were to exist, people would not necissarily be personifications of the magic they use, people would have personalities and they would choose to use a certain magic. <S> There is no reason to not have an excitable, bubbly ice-user or a miserable, lazy fire-user. <S> Admittedly there might be cultural influence (e.g. the fire nation favours power, the ice nation favours wisdom) but that would not be steadfast - there do exist Americans who don't like American football or hamburgers, there do exist Britons who do not like football or tea. <S> Heck, all nations are divided by their politics alone, no matter what traits their culture favours. <S> TL;DR:
| Fire and Ice magic is fine, but don't make the people personifications of their powers.
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I am looking for statistics on the percentage children's books versus other genres in self-publishing I have tried doing searches for this and can't seem to track down the exact numbers. The sources will list the top selling genres but that doesn't include children's books. <Q> Since you don't specify which market you are interested in, I assume you want to know about Germany <S> ;-) <S> In Germany, the book market is divided into the following merchandise groups: <S> The 15.8% market share of books for children and adolescents is in turn subdivided into the following merchandise groups: <S> Please note that "Learning" and "Non-Fiction" are both comprised of books for children as well as adolescents. <S> Also, there is no "Middle Grade" segment in Germany as there is in the US. <S> There are no numbers for self-published books. <S> (Statistic: <S> Börsenverein des Deutschen Buchhandels; <S> Chart: self-made) <A> Unfortunately, I did not find any hard statistics in my searching. <S> I assume someone tracks these sorts of statistics but may not make them readily available to the public. <S> You might want to contact the Society of Children's Book Writers and Illustrators ( SCBWI ) or Publisher's weekly . <S> SCBWI offers resources on self-publishing for children's lit authors. <S> I did not see the statistics you want in their publications but someone there might have that information or know where to get it, since they are dedicated to helping authors and illustrators get published. <S> I'm not as familiar with Publisher's weekly <S> but it is an organization dedicated to all things publishing, including self-publishing. <S> They are a likely source for the information as well. <A> What I'm seeing around seems a few years old with a quick google search, but this Statista website may have a report to answer your question or something to get you started at least. <S> Hope <S> this helps if you're still looking for an answer.
| Middle Grade books are subsumed under the children's and adolescent fiction categories.
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How To Define The Compelling Need Of My Reader I am in the process of revising my book and I started reading a little about marketing. I got this wonderful e-mail by Jeff Bullas, who explained to me the basics of selling: It is not trying to convince someone to buy something they do not want. Selling, true selling is about giving the people what they want.It’s about making their lives better, making them happier.In short, it is about finding a connection and building trust. In order to find out how my book can serve people, I first need to be able to research and define the compelling needs of my readers. Here's where I am stuck. Anyone with an idea? <Q> 1) Marketing a product is not "convincing someone to buy something they do not want" or "giving the people what they want. <S> " It is creating a need in the buyer which s/ <S> he either didn't have or didn't realize was there before. <S> That's what ads do: convince people <S> "You NEED this!" <S> 2) <S> Selling a story is not like selling toothpaste. <S> You have to create a blurb which makes the reader want to find out what happens next. <S> That's your hook. <A> Making it unique and interesting will make it something people want, but doing that is not really the problem you will face. <S> It doesn't matter what you write while revising. <S> That has nothing to do with marketing. <S> Maybe the overall story is, but I assume you are not creating a whole new book. <S> The moment people will read your book, the moment they have it in their hands and start reading the words you are revising now, they have already bought your book. <S> So there is nothing more you need to sell them. <S> The part where you do create this need, is in everything around that. <S> Make the cover compelling. <S> Use the space on the back to write a small piece about your book that will draw people in. <S> And the best way to do this, is showing them something new. <S> Something they haven't thought about. <S> That will make them curious. <S> And curious people buy a lot of things. <S> Also, you don't have to think of something completely new. <S> You can also take some existing thing and use it in a new, different way. <S> Or slightly adjust it. <S> As a good example (not related to books): <S> While randomly browsing the internet, I found the most intriguing thing. <S> Laser guided scissors. <S> Laser guided scissors <S> you said? <S> What is that? <S> Do I need it? <S> Well, I can just draw a line right. <S> Works as well. <S> But lasers. <S> It looks so amazing! <S> The red line is so Majestic! <S> Needless <S> to say I am now the proud owner of two pair of laserguided scissors. <S> I bought them last year. <S> One of them is still in the wrapping and the other I used only once. <S> But hey, what do they care how much I use them? <S> I still bought it anyway. <S> As an addition, based on the comments: I'm not saying a book should not be good. <S> Just that for trying to sell your first book, changing what's in it doesnt make a difference. <S> Its better to write an amazing novel and worry about marketing later, than trying to do the marketing part within your novel. <S> Marketing within a book is kinda useless, because the moment they read that 'marketing' they already bought the book. <A> Why do you read books? <S> You want to be entertained? <S> You want to be transported to another reality? <S> You want to learn something? <S> You want vicarious excitement? <S> You want an aesthetic experience? <S> Whatever compelling reasons you have to read are generally the same for your audience. <A> I have worked with NYTimes Best Sellers. <S> I know many authors. <S> If the writer is bored so will be the reader. <S> You cannot market your book to fame. <S> It doesn't work. <S> What you have to do is create something someone wants to read, and once having read, want more. <S> Compelling characters, interesting plot, well rounded world building. <S> You can spend a million dollars on marketing but if no one buys it is waste. <S> There is no formula for success. <S> I thought Fifty Shades of Grey was one of the worst written things I ever read. <S> Badly written, badly plotted, horrible dialogue and astoundingly tacky. <S> And it sold millions. <S> Mostly on word of mouth. <S> That is, one person told another how great it was <S> and they bought it too. <S> Word of mouth is still the best marketing tool ever. <S> And that you cannot buy. <S> Now ask me about the books I loved that didn't sell well. <A> Firstly, you do not state the type of book you are trying to market. <S> But I believe the Jeff Bullas method is full of crap. <S> Very popular is the US is the old scheme. <S> "If you give me $10 I'll show you how to make $1000." <S> After handing over $10 he'll inform you that all you need to do is convince 100 people to hand over $10 - the way he just convinced you. <S> There are a thousand gurus who will tell you "10 ways to do this" and "6 ways to do that." <S> However, there is nothing behind the method. <S> They are effectively telling you how to do something they could not or have not done themselves. <S> "Selling" is not giving people what they want - that'd be "serving." <S> "Selling" is about creating "desire" or "need". <S> "The Da Vinci Code is total crap <S> but you must have a copy because that's what everybody's talking about and unless you've read you'll look stupid to others. <S> " - Is one sales angle. <S> It's hard to create desire for a book.
| No matter what is inside your book, if you want to sell it you need to give them a reason to want it.
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Examples of books advocating for political/educational reform? I've had an idea in my head for a while to write a book advocating for political and educational reform in Canada, but I'm unsure whether or not it's even worthwhile to proceed because: I don't know of any other books that exist solely to advocate for political reform (other than Mein Kampf) I don't know if publishing companies will consider a manuscript I submit on the topic, given that my credentials for the specific thing I'm advocating for (educational reform) are somewhat (but not completely) lacking So, I'm wondering if I can get some insight as to: Do other such books exist? If so, are they almost always written by people who are already well-known in their field? <Q> The answers are yes <S> and yes. <S> Some are quite well-known. <S> Savage Inequalities is one well-known classic (it also inspired a documentary of the same name). <S> Pedagogy of the Oppressed is another, and The Mis-Education of the Negro is a third. <S> It's very hard to publish any book without qualifications of some sort. <S> Why would people read it? <S> They don't necessarily need to be academic qualifications, practical ones can work as well. <S> But writing with no expertise, credentials or experience generally equates to uniformed opinion-spouting. <S> You might be able to compensate for this if you are an excellent researcher, and you present your book as a compilation or popularization of primary sources. <S> One thing to consider is that reform books in general are always swimming against the current, by definition. <S> The fact that you yourself haven't heard of any of the classics of this genre despite your own interest in it speaks to the challenges your book will face in finding an audience. <A> A non-fiction book on social reform by a non-expert is pretty much a non-starter. <S> However, fiction has a greater influence on social and political reform than non-fiction. <S> Hollywood is the sharp edge of political and social change. <S> It is rumoured that President David Palmer "24" paved the way for Barack Obama. <S> People saw a black president on screen <S> and it somehow became 'normal'. <S> Almost every popular US TV series included gay characters - and LGBT people became "acceptable". <S> I have not read "A Handmaid's tale" but the clear message was a future world ruled by Republicans. <S> Writer's of speculative fiction often create world's based on their own ideals. <A> There are books on almost every, if not all, type of political reform. <S> There are books on Men's Rights, MRAs, and the Men's Rights Movement. <S> There are books on Feminism. <S> There are books on LGBT. <S> There are books on family. <S> There are books on education. <S> I could go on.
| There are many many books about political and educational reform.
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Is it strange/confusing to initiate/introduce a dialogue without a dialogue tag? In other words, is it strange/confusing to do this? For the next few seconds, I watched Aiko read the letter with her lips agape---lips that steadily curled up into a smile. A contagious one. Because before realizing it, I found myself smiling too, enjoying a happiness that came from someone else's heart. It was my first time. A first time that wouldn't last. "Hey, Daichi." Kiyoshi tapped me on my shoulder. As opposed of writing: "Hey, Daichi," Kiyoshi said, tapping me on my shoulder. Why or why not? <Q> The quotation marks themselves provide signal. <S> By then tying the line of dialogue to an action in the same paragraph, it's clear that Kiyoshi is speaking. <S> If anybody else were doing the speaking you'd need to say so, but that's not the case here. <S> Beginning writers sometimes make the mistake of attaching attribution -- he said, she asked, Bob mumbled, etc -- to every single piece of dialogue. <S> Don't do that; they get in the way when not needed, and if you establish the context they won't be needed very much. <S> (Occasionally you'll need one, especially if more than two people are speaking; I'm not saying to banish them entirely. <S> But you don't have to use them liberally either.) <A> The question as to whether it's confusing, however, is entirely situational. <S> It <S> can be, particularly if you've have a lot of back and forth dialog without attribution. <S> I've read novels where I've had to go back a paragraph or two in order to figure out who was saying something, which is never good. <S> However, in your example, "Hey, Daichi. <S> " <S> Kiyoshi tapped me on my shoulder. <S> while you've attributed the dialog through a clear linking action, I think you've gotten the order of events backwards in order to do so. <S> I don't think Kiyoshi would first speak to you and then tap you on the shoulder. <S> I believe people tend to tap someone to get their attention and then talk, not tap after they've gotten your attention. <S> I believe there's a term for this, but it has escaped me. <S> Regardless, make sure your linking actions make sense and are useful to the reader whether to orient them in space, help them better visualize what's going on, or to illustrate the mental state of a character. <S> When they are used simply as a <S> he said/ <S> she said replacement they can interrupt the flow of a scene and your reader's connection to the story. <A> To answer your question: no it is not strange or confusing per say. <S> I think understand what you are trying to achieve I'm just impressed by the way you've done it. <S> It's not very clean amongst the foretelling etc. <S> 1) You were watching somebody. <S> 2) <S> You became lost in your thoughts. <S> 3) <S> A third party brought you back to reality. <S> [Excuse my prose]Aiko read the letter with her lips agape--- <S> perfect lips that steadily curled up into a smile. <S> A contagious smile emanating from a beautiful mouth. <S> A smile that could warm the heart . <S> . . <S> "Hey, Daichi." Kiyoshi tapped me on my shoulder. " <S> Stop staring . <S> . . <S> and . . . <S> close your mouth." <A> I'd go with a dialogue tag. <S> For me, it becomes confusing, especially when I listen to an audio book. <S> I think you should make it clear to the reader who not only visually sees your work, but also listens to it. <A> It gives the impression that the narrator's attention is captivated by Aiko and is interrupted by Kiyoshi. <S> So for just an instant the narrator is slightly startled and confused, only realising it is Kiyoshi speaking with the tap on the shoulder bringing him down to Earth. <S> If you had "Hey, Daishi", Kiyoshi said, tapping .... <S> you wouldn't have the same element of surprise, and the implication would be that the narrator was aware of Kiyoshi the whole time.
| It's certainly not strange at all, and if you pick up any random novel and flip through it you'll see that dialog without attribution is used all the time. Authors are advised to use simple dialogue tags such as "said" and "asked" There are plenty of authors who do not use tags. It is slightly confusing, but in a good way.
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Brainstorming Techniques to use when running out of ideas? alrighty, I'm trying to come up with a finale for my 17th chapter, but I don't know how to plot it out. I have a general Idea of what's going in it, I just don't know how to map it out or put it into words. any advise? <Q> Write the finale with your general idea in mind. <S> Ideas will occur to you as you write. <S> You can make notes on the plot at this point, keep writing or start again using what you have learned. <S> The process of actually trying to write your general idea, i.e. making it specific, will help you to make it something you can really use. <A> Nothing to lose by bouncing ideas off others, and sometimes just the process of "thinking out loud" will deliver the answer you are seeking. <A> It'll come with time, no need to worry. <S> One thing you could do is view movies/books that are similar to your story and see how they end; you'll get some ideas. <A> If you know how you want it to end, and you know where you are then connect the dots. <S> In other words... If Frodo just barely got to Mount Doom and the ending is, he destroys the ring there, then write about that. <S> If where you CURRENTLY are in the story is too far away from your ending that it would seem rushed and an abrupt ending, you may want to consider adding on 1 or 2 more chapters. <S> The ending should tie together all of your ends. <S> The final chapter should be where all your visions of the ending are written out. <S> If you envisioned your ending where the hero comes back just in time to save the day, gets the girl, and rides off into the sunset, then expand on those ideas. <S> Maybe I am an oddball in this, but I personally think the ending is the easiest. <S> I see the ending as the end goal and objective you have been writing the story towards the whole time. <S> I would go back and look through the story, read it from a customer's point of view. <S> Let your own story take you on a trip through the world you just created. <S> Don't think about editing, or trying to change things. <S> Just read it as you intended. <S> That should give you a better idea of where you are in the story <S> and it could very well be that you need to add more before you end it, or maybe you realize that the story should have ended a chapter ago instead. <S> I know this doesn't exactly explain how to come up with the right words, but it should at least give you a good start by reading through your own story to see if you find any inspirations or lose ends to write about. <A> Write question about the story and answer them yourself. <S> Could David know what was going to happen?Yes, because:No, because:Did Sarah really cause <S> the accident?If no, why did she not tell? <S> It's also a method to discover possible flows or plotholes in your story.
| By time you get to the final chapter, you should have a pretty clear idea of how you want the story to end and what is going to happen. I am a believer of brainstorming, talking it out with someone or multiple trusted writers.
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Ways to replace "Then, ..." I find myself writing "Then, ..." a lot. Example: As soon as she found my letter---or rather, Kiyoshi's ---she widened her slitted eyes and pressed the letter against her chest. Then, as though she were handling a delicate glass sculpture, she opened the envelope. Mr. HSC squinted his slanted eyes at me. Then, setting down his chef hat on the counter, he said, “Look my shift’s over. How ‘bout we go to the izakaya around the corner? I answered her smile with my own. Then, receiving her apple, I asked her, "So > what now?" How can I replace those thens? (For some reason, I feel that the sentences sound weird without them. Maybe I'm wrong?) <Q> Use the active voice in your sentences and replace the adverbial interjections with metaphor or simile. <S> Use "then" at the end of long sequences of actions to signify their final step/completion or as the transition/introduction to another set of actions with a different purpose or by another character, hopefully. <S> Then, as though she were handling a delicate glass sculpture, she opened the envelope. <S> She opened the envelope, careful to handle it as though it were a delicate glass sculpture. <S> Then, setting down his chef hat on the counter, he said, “Look my shift’s over. <S> How ‘bout we go to the izakaya around the corner? <S> He set down his chef hat and let out a long sigh. <S> "Look..." <S> Then, receiving her apple, I asked her, " <S> So > <S> what now? <S> " <S> I took the offered apple with one hand. " <S> So what now? <S> " I asked during the natural pause created by the gifting. <S> As you can see, you'll need to incorporate words that indicate simultaneous action. <S> That and various sentence complexity combos. <A> Just drop 'em. <S> ... <S> she... pressed the letter against her chest. <S> As though she were handling a delicate glass sculpture, she opened the envelope. <S> Mr. HSC squinted his slanted eyes at me. <S> Setting down his chef hat on the counter, he said... <S> I answered her smile with my own. <S> Receiving her apple, I asked her, " <S> So, what now?" <S> (Example 3 sounds better with a "then," though.) <A> "Then" is not really required in the examples you show. "Then" is only really required when the previous sentence or clause indicates further actions or items. <S> " First , the Earth cooled, then the dinosaurs came. <S> " <S> I also suspect you are looking at sentences to tell your story rather than complete paragraphs. <S> Your examples can easily be re-written to avoid "then". <S> "After setting down his chef hat on the counter Mr. HSC squinted his slanted eyes at me. <S> “Look my shift’s over, he said. <S> "How ‘bout we go to the izakaya around the corner?" <S> " <S> "As soon as she found my letter---or rather, Kiyoshi's---she widened her slitted eyes and pressed the letter against her chest. <S> She opened the envelope as though handling a delicate glass sculpture." <A> However, there are also a few synonyms you can use, allowing you to keep the sense of narrative flow you're after without the frequent repetition of "then". <S> As soon as she found my letter---or rather, Kiyoshi's ---she widened her slitted eyes and pressed the letter against her chest. <S> A moment later , as though she were handling a delicate glass sculpture, she opened the envelope. <S> Mr. HSC squinted his slanted eyes at me before setting down his chef hat on the counter. <S> “Look, my shift’s over," he said. <S> "How ‘bout we go to the izakaya around the corner? <S> I answered her smile with my own. <S> As I received her apple , I asked her, " <S> So, what now?"
| As the other answers have noted, you can rewrite the sentences to remove the need for "then" (or possibly just omit it without any rewriting at all).
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Can I use prominent people in history to as characters in my fiction? I am a little puzzled. I want to set my story in a real era that happened; like say, the American civil wars during Lincoln's time, and involve the then prominent figures like Lincoln and McClellan as some of my major characters, though portraying them fictitiously; reputation and natures maintained. Has this got to bring me some problem? Again, my story is historically untrue, but I need to infuse it into a real historical event that might have happened and let it make part of the event; can this work? Please help me know. <Q> Sure you can! <S> People do it all the time. <S> To use your own example of Abraham Lincoln, there was a film from a few years ago (adapted from some other medium) depicting him as a part-time vampire hunter. <S> It was imaginatively titled Abraham Lincoln: Vampire Hunter , wove fictional events together with real events, and to my knowledge, nobody from Lincoln's estate had a problem with it. <S> Then there's Futurama , in which Richard Nixon's head is the President of Earth; <S> Doctor Who , which has had Churchill recruiting Daleks and Agatha Christie fighting evil space bees; the obscure but very good anime <S> Nobunagun , in which Jack the Ripper was actually Florence Nightingale and his her victims had been infected with alien parasites ... <S> you get the picture. <S> You've said you intend to maintain the "reputation and natures" of the people involved, which is probably the most important part. <S> As I commented on Surtsey's answer, you'll want to be careful of libel. <S> The further back in history you go, the more leeway you have, as people lose connection to their ancestors over time. <S> When Shakespeare wrote his history plays, he had to be careful to portray the then-ruling Tudor dynasty in a positive light, or he would have been locked up. <S> When he wrote Julius Caesar , however, he could do whatever the heck he wanted; Caesar had no direct descendants to rock up and say "No, that's not what happened". <S> In short: as long as you're not actively demonizing anyone who doesn't deserve it, go crazy! <S> Have fun! <S> Make Abe Lincoln fight alien space bees if you want! <S> (Seriously, I'd buy that book.) <A> Obviously libel laws apply. <S> Generally you cannot libel the dead, however some US states permit lawsuits where the descendants are the plaintiffs. <S> Avoid people with commercial legacies. <S> e.g. Don't portray Walt Disney as a child molester <S> - The Disney Corporation will bury you, your family, your unborn descendants, anybody who looks like you, and anybody whose name has a similar spelling. <S> Stick to 'real' people. <S> e'g' "Thor" is a mythological Norse god. <S> You are free to use him. <S> However, "Thor" is also a Marvel character. <S> If your "Thor" is similar to Marvel's Thor you'll be in trouble. <S> Lincoln - you may portray any way you wish. <S> Please be aware <S> , I am not a lawyer. <A> Absolutely, and a number of Authors have had great, great success doing so. <S> There's even a genre for it - Historical Fiction (or Alternate History depending on how you want to go) <S> Bernard Cornwell is the first that springs to mind, he pretty much personifies this genre. <S> Whether it's the Last Kingdom series, or Azincourt ; he writes stories based on real and fictional events with real and fictional people, but he does it in a real setting. <S> The biggest caveat, however, is to make it as realistic as possible, and make your research as thorough as you can. <S> That's why Bernard Cornwell is so good at it <S> , he researches and puts everything as close to accurate as he can. <S> Anachronisms are kept to a minimum. <S> The stories are immersive because of that. <S> He also makes it clear that his stories are mostly based on historical events with historical and fictional characters, and even goes so far as to list (sometimes) who was real and any major deviations that he is aware of. <S> He also lists his major sources. <S> Azincourt really is a good example of this, and I suggest you read it (if you haven't already).
| Yes, you may use prominent people in history pretty much any way you choose.
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Is character arc or character development more important (assuming they are in conflict?) A "character arc" represents the changes in the character in different parts of the story. That is, how the impact of story events brings about changes in the character. A "character development" is a description of a character at a point in time . That's a helpful thing to have, all other things being equal. My big fear is "that much" character development (at one particular time) will fix the character in that time period, and inhibit changes (or at least the audience perception of those changes) during the course of the story. So are readers/viwers more interested in "character development" (background details of a character), or "character arc" (how the character changes). Put another way, which do you prioritize if they come into conflict, and how do you reconcile the two? <Q> How can a reader tell that a character's changed (in their character arc) if you don't show what the character was like before (character development, by your definition)? <S> Therefore, I believe that the two are interconnected. <S> You cannot show the arc very well if you haven't shown the development. <S> What it sounds like you are afraid of is that there's a disconnect between the change and what they were and that will be confusing to the reader. <S> What you must do is SHOW or tell if you must, the reason for the change. <S> Characters are who they are. <S> When they change an aspect of their behavior, it needs to be clear as to why. <S> It isn't a conflict and one is not more important than the other. <S> When it becomes jolting is when they are suddenly acting totally differently than they have previously. <S> It's up to you, as the author to either show or explain the change. <S> The change can be temporary or permanent... <S> That's how you reconcile the two. <A> Both things are very important and can be very interesting. <S> And if you look around, best examples of world literature (From "War and Piece" to "Lord of the Rings") are dealing with this problem. <S> Protagonist(s) <S> at the beginning of a story is not the same as at the end of it. <S> Journey changes the person. <S> How to do it the best? <S> That's a good question. <S> In my opinion, one good approach is to expose your character to similar situations throughout the arc, and see how his/her reaction is changing over time. <A> A character arc is not a required component of a story. <S> It is a popular component of a certain type of story but the belief that you need to include an arc is a severely limiting factor. <S> Generally speaking people do not change. <S> The writer reveals the character of a character by showing his reaction to challenge and circumstance. <S> A person who went on a journey, faced challenges along the way, but ultimately became a better person for it is a "Disney" plot. <S> Your description of character development is strange to me. <S> We reveal character scene by scene, and it shouldn't necessarily be a conscious thing. <S> We don't write scenes for scene's sake. <S> If we include a scene where the character gets up, makes breakfast and goes to work we likely SHOWING you the character (1) <S> Lives alone <S> (2) Is a vegetarian <S> (3) Has a job. <S> Character development / building is more accurately described as character revelation. <S> When he goes to him mother's house for Sunday dinner we discover he has two sisters and an absent father. <S> Character development is essential (Unless your main character is Dr Spock or Lassie).
| A character arc is unimportant. To provide an in depth characterisation of a character at any point in time would require a massive and tedious infodump.
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What country do I use? I'm writing an original story about figure skating . Problem : I have no idea what country to use for my main character. I need a country that: Actually exists Does not take part in the Winter Olympics English-speaking (it's part of my plot) Is probably very cold and/or has many ice skating rinks My country does not meet these criteria so how do I write about another country (if I can find it) and how do I ensure that the things I write remain fictitious in a non-fictitious setting ? I'm trying not to write about a country that already has Olympics because I do not want my character to seem like she is better than the current athletes from that country and the readers to say "Aren't our current athletes good enough?" and such. But if I do write about a country that already has Olympic athletes, how do I write it such that it still remains fictitious but the current athletes are recognised as strong athletes without offending anyone ? Thanks. <Q> Has many skating rinks and doesn't participate in the Winter Olympics. <S> That doesn't make sense. <S> I looked at a map and didn't see anything that fits your description. <S> Maybe you could use a remote region of Siberia, and fictionalize it so that there's no rinks, but people use the frozen lakes. <S> Maybe a few locals have learned English. <S> Good luck! <A> You have to get more fictitious than you like. <S> Your set of requirements is just too strict. <S> Maybe the easiest way is to set your story in a country that does participate in Olympics, but does not have much of figure skating tradition. <S> There are so many fiction books where (for example) USA has a fictitious president, so if you create a wholly different picture of one sport, it's not a big deal. <S> Just be sure to stress that your setting is "alternate", and have some characters miss the "good old days", when figure skaters of that country actually got medals. <S> Third way is to create a fictitious country, but that, I imagine, would be more work. <A> Alexander's point is extremely valid, and I feel your criteria are too restrictive. <S> What you are after is a country like Australia. <S> Generally hot/tropical climate with some snow and slopes. <S> We participate in the Winter Olympics, but aren't well known for it. <S> And we have the underdog factor. <S> Look at Steven Bradbury, for example. <S> Australia's first Winter Olympic Gold Medallist in Speed Skating. <S> He won it because everyone else in the race, all the big guns, crashed in a heap and he was that far behind he managed to swerve around them, stay on his feet and cross the line. <S> No one expected him to win (least of all himself). <S> But he was good enough to get there in the first place. <A> As everyone has mentioned, your requirements... particular that the country does not participate in the winter Olympics, is a bit tight. <S> Most countries get at least 1 representative to qualify. <S> What you are looking for is a story like Cool Runnings where you have a Jamaican team qualify and perform well at the Bobsled event. <S> They were laughed at for most of the movie. <S> As others have stated, you can create an alternative universe about a real powerhouse. <S> Say we speed up the years to being 100 years from now. <S> Russia, a typical powerhouse in winter Olympics and figure skating has lost funding for their program due to what ever causes. <S> Country went broke, it has a civil war going on... <S> what ever cause you want to do to make Russia fall apart. <S> In comes our MC. <S> A talented skater who is tired of war and skates in an abandoned rink when no one is around (because it is forbidden due to xxx dangers or politics). <S> They get yelled at for sneaking off all the time <S> but they still choose to because they love it. <S> They end up writing themselves in an application and raised the funding themselves through working many jobs with the support of friend/bf/husband/wife/gf/family/etc. <S> They are accepted into the Olympics as an independent . <S> Through their trials, they get mocked at by other countries for their country (because of what ever conflict is hurting Russia). <S> This person manages to rise above the rest to reclaim the glory (give it an olympic or 2 if you want to elongate the process) and becomes someone that unites Russia again and/or provides funding/support for their figure skating committee.
| A country that has many skating rinks likely means that they love to skate and therefore will have people who are good enough to perform in the Olympics. Another way (often used too) is to create a fictitious setting in a real country, where your character would have a full freedom of development.
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Why am I not motivated? I feel like I want to write, but when I do it just gets boring.I begin thinking, "Oh, I'm probably just gonna start a new draft. What even is the point." I really do enjoy writing, I'm a person that keeps my feelings inside and when I like something or have an obsession the only person I talk to is the white paper. But like I said earlier, basically when I start writing I get bored. Q Is there a cause I'm getting bored? <Q> Most importantly make sure you are writing something you really care about (as long as we're not talking about your day-to-day job here). <S> No hobby is made better by forcing yourself to do only what you think others will appreciate rather than what you truly love to create. <S> As for getting bored in the creative process, and this is just a personal annecdote, but I find that I am unable to really focus on writing or programming when I have been habitually inundating myself with easy stimuli. <S> Things like using my phone too often, playing video games or binging on Netflix, all draw power from my ability to sit down and really pour myself into my true hobby. <S> Either way, if you find yourself not performing how you would like to, then that just means it's time to change something. <S> So experiment with variables in your days' activities and see what gets that productivity churning! <A> Like the user above has said it's crucial to keep experimenting with your craft. <S> It's the only way we can keep being motivated. <S> Sticking to a single method will eventually turn tiresome and boring in time. <S> Now I do have to add something here. <S> The most interesting idea is the one you're beginning to write. <S> The most boring one is when you're stuck at page 80. <S> And it's crucial to get till the boring stage if you need to get better. <S> Every idea in your head is going to feel spectacular <S> and it will always turn boring at one point when you put it in paper. <S> Don't get the idea that a writer must absolutely love every minute of this process. <S> In short, my point is that you need to force yourself and get your ideas out. <S> It's the only way to break free from this. <S> If you still get bored you may want to think twice about your method. <S> Not every story teller is a novelist. <A> Deadlines can be external (I need to have a clean draft to the writing group by Sunday night at 10pm, the contest submission is next Tuesday, etc.) or internal (see the pomodoro technique), but just knowing I need to make progress is enough to get me moving forward.
| For me boredom is usually a sign that I'm lacking focus and the easiest way to force myself to focus is to have deadlines. If you're clearly not interested in what you're doing it is a sign you need to change your method.
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Is writing in a foreign language a brilliant way to shoot oneself in the foot? Normally I never write prose. After much world building I now feel the need to. Ever since I resolved to at least pen down a draft, things get curiouser and curiouser. For when I sit down to write a short scene, I start doing so in English, which is my third language. I don't know why that happens. Perhaps I read too many English works lately, or I subconsciously associate fantasy with English, or I don't want to write I in the ornate poetic style I've cultivated in both Greek and German. I doubt that I will ever publish prose. Should I force myself to refrain from writing in this foreign language, that will certainly make me commit a hundred silly mistakes, or is there any reason to go with the flow and perhaps change it later? Edit: The way my poetry "happens" and which I now apply to my first prose draft is the following: I receive a stimulus, often music. Then I sense I have to write a poem and that feeling is accompanied by a special feeling of discomfort, which only goes away if I write the poem. At some point a sentence forms in my mind and I start writing the poem with only a vague sense of how it will look like. Now pretty much the same happens with my draft, only that the sentence which forms in my mind, the seed if you will, is in English. <Q> I would say, it depends. <S> I assume you live in Greece or Germany, so writing in English might open up a new world for your readers. <S> Your unique perspective might be your winning quality. <S> On the other hand, what language works best for you? <S> That might take some experimentation before you get it. <S> It might even differ between stories... <S> I've written both in English and Swedish <S> and I've come to the conclusion that I love my Swedish too much to let go of it... <S> even though my current work possibly would work much better in English... at least from a "getting lots of readers" and a business point of view... <S> but hey! business schmishness... <S> I am an aaaartist after all... <S> (no lack of irony here ... <S> and still, I can always translate it if no Swede cares for it!) <A> Each language has its own "mind set," and its own way of expressing things. <S> So if you write the same thing in three different languages, you will (ideally) get three different points of view. <S> This would not be "shooting yourself in the foot" but a way of getting different variations of the same story. <S> Of course, you will want to get the grammar correct in each language, but that is a relatively easy task (compared to the creative writing part). <S> In a real pinch, you could hire a native speaker to correct your grammar. <A> To write in any language other than your first is extremely difficult. <S> Language is more than words and grammar. <S> It contains a multitude of idioms, phrases, expressions, proverbs, cultural references etc. <S> which make no logical sense and can only be used in certain contexts. <S> Your question and first line: "Is writing in a foreign language a brilliant way to shoot oneself in the foot? " . . . <S> "Normally I never write prose. <S> After much world building I now feel the need to. <S> Ever since I resolved to at least pen down a draft, things get curiouser and curiouser . <S> To "shoot oneself in the foot" is an idiom. <S> It may make no sense to a Chinaman. <S> "Pen down" is slightly awkward. <S> We "write", we "write down", we "pen". <S> "Pen down" - not so much. <S> "Curiouser and curiouser" a cliché from Alice through the looking glass <S> - Our Chinaman is now scratching his head vigorously. <S> It should also be noted: I write comedy. <S> An out of context or incorrect idiom is a source of humour and a contribution to characterisation. <S> One of my favourites: An African immigrant (in the UK) complaining about other immigrants. <S> "I don't know how they can expect to get along in this country if they cannot be bothered to learn the Queen's Mother's language!" <S> Of course in confused the expressions <S> "The Queen's English" and "Mother tongue" - to invent a new, nonsensical expression.
| Writing in a foreign language opens up "alternatives" to you.
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How do I blur the line between dream and reality? I intend to write a science fantasy where dream world plays as important role as reality. The dream world stated has quite a distinct feel from the real world, and it is integral to the plot. The dream—although absurd—feels like reality when we dream about it. Only after we wake up, we register its absurdness and pass it off as a dream. In my story, dream world is the alternate reality. The characters, when in dream, feel every bit of it and perceive it as reality. However, when I write about it, the readers are bound to notice that it is distinctively different from the real scenario–which will drastically reduce the effectiveness of the narrative. I'd want the readers to get into the dream and feel it just like the characters and jolt out of it when the characters realize it is a dream. So my question is, how do I blur the line between dream and reality so that it is difficult for the readers to identify if it is a dream or reality? P.S.: The closest example I can find of such narrative is the movie Inception . It started with a dream sequence and had a scene in between where the dream seemed real. But it is not helping as I'd want the readers to pass absurdity as reality–the way we feel when we dream. <Q> You're unable to make the dream less absurd? <S> Make the reality less real. <S> Through some skillful stylistic maneuvers you can make the two realities equally eerie. <S> Some foreign dignitary is visiting the town, all roads blocked, armed forces preparing route for the column. <S> And there's a demonstration of people dressed up in most fantastic clothes, medieval, fantasy, and just outright bizarre; these are actors from the local theatre, who protest a political decision of replacing their director with the nephew of the mayor. <S> And they refuse to change the route of their demonstration and get in a fight with the police, and all you want is to get to your home, as you witness a cop in riot gear savagely beating the Harlequin with a baton, blood staining the white-and-black clothing and tall cone hat, and you're just angry that they must be doing it in the middle of the road, blocking your way, a big bouquet of begonias for your wife wilting on the back seat... <S> Then there's a scene transition, and the reality is entirely different , but equally bizarre . <S> And the reader is completely unable to tell which is the reality, and which is the dream until you decide to make the distinction, explain one set of events, show physical absurdities in the other... <A> What you're suggesting is very easy. <S> It is probably the way you're thinking about it that makes it seem complicated. <S> There is no difference between a dream and an extended thought. <S> A man wakes up goes to the bathroom, looks into the mirror and proceeds to brush his teeth. <S> He kisses his wife and child goodbye and sets off work. <S> At work he has a really bad day. <S> He gets fired. <S> He goes to pub and gets drunk. <S> Finally he has the courage to face his wife so he get into his car and drives home. <S> On the way home he's not paying attention. <S> He runs over a child on a crossing. <S> During the collision the air bag is deployed. <S> His lips and gums are damaged. <S> He spits the blood out of his mouth. <S> He looks down the blood is not red, it's white. <S> He finishes brushing his teeth, kisses his pregnant wife goodbye, and heads off to work. <S> You were unaware he was daydreaming until you were told, right? <A> You, the author, are creating both the "real" world, and the dream world. <S> From that point of view, neither intrinsically has more reality than the other . <S> Bizarre things may happen in the dream world, but then, bizarre things happen in reality all the time. <S> When things that contradict reality happen habitually in a narrative, we call that "fantasy fiction" and it's something that many readers are happy to suspend disbelief for. <S> The upshot is that if you treat this secondary world as its own, legitimate reality, and respect whatever rules you set up for it, it will be just as real to the reader as the primary reality. <S> YOU are creating the rules for this universe . <S> There's no way for the reader to judge that the secondary world isn't a valid alternate reality unless you undercut it in some way. <S> With that in mind, make sure that everything that happens in the dream world has real stakes and real consequences . <S> Everything that happens in the movie version of "The Wizard of Oz" is a dream, but it doesn't feel like a cheat to most viewers, because it has a complete story arc, in which Dorothy genuinely has to grow and change. <S> The dreams that cheat the readers are the ones that short-circuit the protagonist's journey or that give him or her unearned escapes or rewards. <A> A situation is as real as the characters take it to be <S> In Monty Python's Search for the Holy Grail, there's a scene where Arthur battles "the black knight," who will not let him pass. <S> After each brief bout of fighting, the black knight has had another limb chopped off. <S> The situation of battling with swords is plausible in the setting. <S> The bloody consequences are not entirely unbelievable. <S> The reason the scene is silly rather than horrifying (besides the corny special effects), is the character reactions. <S> The black knight is utterly undeterred by having limbs hacked off, showing exactly the same confidence with just one leg as he did with two arms, two legs, and a sword. <S> (He's ready to call it a draw, but not to concede, after he has neither arms nor legs.) <S> Arthur, at the same time, goes from confident, to disbelieving, to mildly annoyed. <S> His reactions, while less absurd, are still not entirely realistic to the horror that a real exercise of hacking arms and legs off would entail. <S> If your characters experience pain and fear, the scene is real A little bunny jumps up and bites through someone's neck? <S> Hilarious! <S> Unless that was your wife of 17 years, the mother of your children and your partner in life, and she really just fell down dead in a mess of her own gore. <S> Then it's not funny at all. <S> People can be terrified of clowns; there's a fine line between absurdity and terror. <S> Likewise with the other aspects of human experience; it is the realness of the feelings that makes something real. <S> Love and hatred, terror, confidence, hunger... <S> If you want the reader to believe the reality of a dream, you just have to convince the reader that your characters feel it, however absurd the events themselves are.
| Give it some events that are absurd - things that happen, have a hidden, plausible explanation, but at a glance are bizarre enough to make it feel like a dream.
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How can I write a fictional mythology diary? I have always been interested in Irish mythology, especially Fionn Mac Cumhaill. I also like to write in journals. Is there a way of combining the two? In other words, say, for example, the life of Fionn Mac Cumhaill, but in diary or journal form. I also noticed that there are no dates in mythology. So how can I overcome this? <Q> Ludi's comments are on the button. <S> Every civilisation has it's own calendar. <S> The calendar consists of the time passed since a significant event. ' <S> Time' is measured by the number of occurrences of a recurring event. <S> Your time is measured as the number of times the Earth has revolved around the sun. <S> However, it could be measure using any arbitrary method. <S> Today's date could be stated as 1.800.452 - the number of time Old Faithful has erupted since Independence Day. <S> Examine some children's concept of time: <S> "We are going to Disneyland next Thursday." <S> "How many sleeps is that?" <S> "Nine." <S> So, to answer your question. <S> Create any concept of time you wish. <S> Some fictional civilisations have a concept of time which has no anchor. <S> Events occur in the 'now', in the 'before' or in the 'after'. <A> One of the most common forms of dating in the pre-Christian era was by regnal dating. <S> That is, events were recorded as occurring in such and such a year in the reign of king X. (For that matter, Christian era dating is actually regnal dating based on the reign of Christ as king.) <S> The use of regnal dating would seem completely appropriate to the material in this case. <A> As @Ludi mentions on a comment, the big question is the motivation for writing a journal of one's adventures. <S> Correct me if I'm wrong but Fionn Mac Cumhaill is a warrior who leads a group known as the Fianna. <S> Their adventures (for lack of a better word) comprise the Fenian cycle which is supposedly written down by the poet Oisín, who happens to be Fionn's son. <S> Of course that requires eventful days. <S> If the writer is Fionn's son (or an assistant commanded by him), the motivation would be to transmit the glory of his father / lineage. <S> Moreover, although some chroniclers were dry and boring, there were also chroniclers that brought events to life almost cynematicaly (I'm thinking of the Portuguese Fernão Lopes, 14th century, whom I know best). <S> EDIT <S> As for dates (sorry, I overlooked that question), I'd suggest going with months and days of the week. <S> Avoid mentioning years altogether. <S> It is easy to just reference that it was the time when King X ruled over Xland, or that something happened a decade after King Y's coronation / marriage / etc.
| Looking at the setting above, it seems to me that the writing of a chronicle would probably be the best way of uniting mythology and 'journal', since some chronicles detail events day by day, just like a journal.
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Resource for rejected novel manuscripts Is there such a thing as an online repository for rejected novel manuscripts? I think it would be a useful and educational resource -- especially to finally see examples of the so-called 'mistakes every failing writer makes' -- but I have yet to find whether such a repository even exists. <Q> In addition to the existing excellent answer by Surtsey, I am sure such a resource, if found, will have to be illegal (as the publisher would have leaked material copyrighted by the author). <S> Otherwise the author must either have: Relinquished first electronic rights. <S> Submitted to a publisher not bound by Copyright. <S> It appears from the comments such a bewildering institution may exist. <S> Note: <S> I don't know much about law, but found out here that in Australia, for instance: Copyright is not ‘waived’ when you publish text or images on the internet. <S> You can decide how you would like people to use your online content. <S> Guidelines for using online text and images usually appear on a website’s ‘terms of use’ page. <S> So, we have to distinguish between copyright and first electronic rights. <A> While there is no possibility of 'online repository for rejected novel manuscripts' made available by a publisher, you can find online resources for critical analysis of traditionally unpublished work. <S> A plethora of self published books can give you the idea of 'reasons it got rejected by a publisher' rather than 'mistakes every failing writer makes'. <S> Nonetheless, it is a valuable resource to study as some of those may have been rejected by a publisher before. <S> Online writing sites like Wattpad can also prove to be a good resource if you want to study the work of novice writers. <S> However, most of the writeups posted on Wattpad are still in progress, and can hardly be termed as manuscripts. <A> It is extremely naive to believe the publishing industry is somehow like school and an 'A' will get you published. <S> There is no formula, standard or level to achieve in order to secure publication. <S> There is no rhyme nor reason as to why one publisher accepts a manuscript and another does not. <S> What is needed is a bit of critical thinking. <S> Let's look at Harry Potter: <S> (1) <S> The manuscript would make it into your repository as was rejected at least nine times. <S> (2) <S> Clearly Rowling was clueless as the manuscript was considered far too long for a Y/A novel. <S> (3) <S> The novel is of poor quality because Rowling 'never met an adverb she didn't like'. <S> E.L. James got everything all wrong. " <S> 50 Shades of Grey" id not clearly fit into any genre. <S> It was too spicy for romance and too tame for erotica. <S> Another best seller, Peter Benchley's "Jaws" was accepted based on a verbal pitch. <S> At school your teacher will mark up your effort, grade it, and suggest improvements. ' <S> Real' agents and publishers will do no such thing. <S> They will never tell you what's wrong with your novel. <S> They'll use choice phrases like "We didn't feel passionate about it" or state " <S> There isn't currently room on their list. <S> " It would be embarrassing for one publisher to return a manuscript highlighting all its problems and, subsequently, another publisher hit the NYT best-sellers list after publishing the work in its near original form. <S> There are no 'mistakes every failing writer makes'. <S> The 'How to' industry is worth millions of dollars. <S> But you've been sold a bill of goods. <S> There is no evidence that following a set of instructions will improve your chances of being published. <S> Off the record, most agents admit they have no idea what they are looking for - but they'll know it when they see it. <A> Yes, it is called Amazon Digital Services. <S> It is where authors publish manuscripts that have been rejected by publishers, or which they have rejected themselves by not bothering to submit. <S> Writing is a craft and publishing is a commercial enterprise. <S> Like other enterprises that depend on appealing to the taste of consumers, such as movies or fashion houses, or cell phone makers, it is not an exact science, but companies in these spaces do know an awful lot about what works and what doesn't. <S> It does not mean they don't make mistakes and produce dreadful duds from time to time, nor does it mean they always know when they have a best seller on their hands, but it does mean that they know a non-starter when they see one, at least 99.99 percent of the time. <S> Writing is a craft and can be studied as a craft. <S> Publishing is a business and can be studied as a business. <S> Both the craft and the business are written about extensively. <S> They are also both reasonably transparent so you can study them for yourself. <S> To be certain, there are charlatans peddling bad advice, as there are in any trade, and sometimes the advice of the charlatans (promising as it does an easy road to riches) can become popular and even be received as gospel. <S> But those who are serious about the craft and the business will not be fooled for long. <S> Like all industries that appeal to taste, there is the je ne se quois factor on top of the craft, and that makes some people sneer at the whole idea of craft. <S> But the je ne <S> se quois factor really is the icing on the cake. <S> You may not succeed without it, and you may not be able to learn it if you don't have it, but it can only successfully operate on a sound base of craft. <S> Read the vast majority of self published works (or join a critique group and read people's submissions) and what you will find in almost all of it is a basic deficit of craft. <S> If the craft was remedied, would they become best sellers? <S> Probably not. <S> Even with the craft remedied, most would lack the je ne se quois factor. <S> But in many ways there is nothing that highlights the vital role of craft then reading works where it is so obviously deficient.
| Wattpad hosts a plethora of stories posted by amateur to established writers, where you can actually come across examples of the so-called 'mistakes every failing writer makes' by chance.
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Is it ok to make fun of gender stereotypes? Very simple (albeit a bit tacky) example: Him: We're not that different from other couples, are we? Her: Hm... maybe. I mean, you make me sandwiches, for one. Him: Yeah, because I can do them better! Her: laughs That's true, I'll give you that. Now, I don't really have a problem with... sexist dialog like that, since it's obvious (or at least I think so) that the characters are self-aware and just joking about stereotypes. I just wonder if it could come across as childish to a reader, taking them out of the story. Should I just avoid these types of jokes or should I not worry about it too much? <Q> Including some light sexist banter is acceptable if it serves your story. <S> Including some heavier sexist, racist, homophobic or any other hate-derived dialog would also be acceptable as long as it serves your story. <S> If you are trying to set your story in a world where such things are common, then including them in your character dialog contributes to the authenticity of your writing. <S> Excluding them is also acceptable, again in service to your story. <A> Yes. <S> As a human being, you are entitled to have an opinion about everything you encounter in life, and joke or be upset about it–or both. <S> As a writer, you also have a right express your opinions in writing, and you not only can disclose your own, you can present thoughts and beliefs which are totally opposite. <S> This is why you invent characters, which can carry out their own views on the world you make them inhabit. <S> You can make them prejudiced, sexist, feminist, racist, human rights activists, law-abiding citizens (who can still be racist and sexist), and career criminals. <S> You and only you own the world you are creating, whether it is a high-fantasy imaginary one or a meticulously crafted reflection of the real life. <S> No matter what you choose to write about–happines, misery, affluence, hunger, religious fanatism or progressive thinking, sex, drugs, rock-n-roll, etc.–go for it. <S> Do not try to play it safe–it will be instantly noticeable and will come through like a watered-down attempt to play both sides ( oh, I want to address a serious and unpleasant issue, or feel like a risky joke will go well with this character, but I do not want to upset my readers ) and will make your writing bland and boring. <S> You should remember, though, that as human beings, your readers also have a right to have an opinion about what they read and your words will be judged and commented upon. <S> Guess <S> what: you cannot please everyone. <S> If your readers are upset by your writing, they are not your readers. <S> If someone flips because you used an (insert-a-letter)-word , that person should stick to reading newspaper headlines and cereal boxes (milk cartons might be too unsettling). <S> Go ahead with your story and do everything to make it work. <S> Self-censorship is one of the worst methods of self-editing. <S> Best of luck. <A> You may write any dialogue you please. <S> If there are people in the world who speak it - you may write it. <S> Dialogue is, perhaps, the most important aspect of storytelling. <S> One line from a character can tell the reader a character's nationality, class, education, world view, and a lot more to boot. <A> The thing I wonder about is the relevance of those lines to your story. <S> Now if that's a story about a working wife and a stay-at-home husband, the dialog can very relevant. <S> To a lesser extent, this could be true about an aggressive, outgoing woman, and a shyer, more introverted man. <S> But don't use this, or other dialog if not relevant to the story. <S> Unless, perhaps, it is a form of light humor or comic relief.
| It is nice to be sensitive to your readers' feelings but don't let it get in the way of your telling your story, your way.
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How do I cover many years with little activity without it feeling rushed? In a story that I am writing, due to some time travel issues, the protagonists will have to wait a number of years before the next stage of the story happens. Things that happen between then and now might be very boring (settlement building, general life). For example, if Bob is stranded on an island, and in three years a ship will come to save him (which is the point of the story), how do I "skip" the potential story of him living on the island and surviving, without it seeming like I've cheated the reader out of content. I don't know how to convey this without it seeming like I'm jumping around and rushing the story. <Q> Your example is kind of a bad one for this situation. <S> If we did this, then, the movie like castaway would only be about 20 minutes long. <S> Shows him being stranded, skip his surviving on the island, and then he is saved. <S> You still want to designate time progression and time skipping without killing the important parts. <S> Start out with his struggles to do something basic like make fire, find a shelter, catch/find food. <S> Next paragraph SHOW that time has progressed. <S> Have it be him waking up the next morning <S> and he scratches on the rock his next tally of dozens already there. <S> He walks to the ocean to wash himself off. <S> He notices he has a full facial beard in the reflection of the water. <S> things like this designate that time has passed. <S> Everyone knows a full beard does not grow in a day. <S> After you do some time prepping like that, make the next event happen. <S> Maybe this chapter he starts his first attempt to get off the island. <S> Maybe a storm comes and ruins his last month's worth of foraging. <S> End chapter, pick up or fast forward again. <S> There are now hundreds of marks on the wall, he notices his hunting and tracking skills have significantly improved and then lead on to the next event of what ever you want to happen. <A> If truly nothing happens, then it's natural to elide it <S> --stories <S> do this all the time, and we even do this with our real life memories. <S> Life is "lumpy," an hour can feel like a lifetime, a year can pass in a blink of an eye. <S> Just give it a quick sentence and move on: <S> "What with one thing and another, three years passed" -- <S> William Goldman, The Princess Bride <S> On the other hand, if this feels rushed, maybe that's a sign that something important to your storyline or characters needs to happen in that blank space. <S> Often this comes down to "emotional believability." <S> If your characters are growing, changing, working out their differences, or gaining new skills, your readers may demand to see at least some evidence of the work taking place --not every moment, perhaps, but one of them. <S> Readers have a sixth sense for laziness in an author --your own discomfort with quickly skipping over this time elapsed <S> suggests you feel like you're avoiding needed work. <A> Say, a day before the ship arrives, Bob takes a stroll through his "fort", making routine repairs of the fence, bringing a few more branches for the huge stack of wood on the hill top, to be lit in case <S> he sees a ship, milks the goat, waters the carrots, checks traps, finding a rabbit, cooks the rabbit in a clay oven... <S> stands for a minute over the grave of his faithful dog on the shore where three years ago they were both washed out with debris of his ship. <S> Generally show the past as its effects on the "now". <S> A journal, a log, a memoir, a set of newspaper clippings. <S> You can skip between events, show tiny slices of life and write longer stories on major events. <S> Day 342. <S> The bend of the stream is a motherlode of clay, just under a thin layer of sand! <S> Meet Bob the Builder! <S> First project: a furnace, which will be used for firing clay items and double as an oven and stove. <S> Finally end of burning my hands when trying to cook pieces of rabbit stuck on a stick over the fireplace! <S> Day 348. <S> I'm awesome. <S> My furnace is awesome. <S> And my brick house will be awesome! <S> This morning I was planting tree saplings on the slope of Fort Bob. <S> And the side effect is that I pushed the jungle back another twenty yards. <S> In this format you can take great liberties both on time skips and on size of slices of time you show. <A> You are writing a story, not a history. <S> Were the characters of your story real people (which they are not) <S> many things would happen to them in their day to day lives that are not in any way relevant to the story. <S> Your story is not going to tell us how many times they went to the bathroom or brushed their teeth. <S> It is going to focus on story relevant incidents. <S> This is just as much true on the large scale as it is on the small scale. <S> Days, months, or years may sometimes pass without a single story relevant incident, and there is no more need to account for those day, months, or years than there is to account for the daily brushing of the teeth. <S> If a great deal of time has passed between one story relevant incident and another, you probably need to indicate this somehow, if only so the reader can age the character a little in their mind's eye. <S> So say it and move on to the next story-relevant incident. <A> You use a subtitle: "Three Years Later." <S> That way, you show that three years of calendar time has passed, even though it is more like three seconds of story time.
| If there's very little going on, just skip - and perform introduction of the changes as a reminiscence, observation, discussion, at the new point of the story. Make each chapter an event that happens. If there's too little to fill the period normally, but too much to just skip, as above, a good method is a change of the format:
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How to keep consistency of style through a piece of writing? This is something I've noticed in all of my writings, whether it's an essay, a diary, a fiction or anything else. I tend to start writing in a certain style, then at some point, I will realize that I switched to another one in the course of writing. The changes happen more or less gradually but will inevitably end up in a dictinct, generally closer to my inner voice, style. Of course, the longer the piece, the more this is prone to happen. Also, I find it very hard to edit such a text afterward. Is this something common? Is there a way to avoid it? If not, how can I make the best out of this tendency? <Q> The fact that you find yourself always reverting to your "inner voice" makes me suspect that when you start a project, you are trying to imitate what you think a writer should sound like, instead of creating something unique and true to you. <S> Is the voice that you end up in your true and natural style? <S> If so, I would work on beginning with that style, then being consistent will be easy! <A> A lot of the greats did something that is not readily encouraged today: emulation. <S> I did it, and it helped tremendously. <S> In fact, I believe it was the single greatest tool in helping me be a writer. <S> Take your favorite writers--hopefully they're stylists---and copy your favorite passages. <S> Longhand, on a computer or typewriter--whatever. <S> Copy them word-for-word. <S> Do this without thinking of it as work. <S> Copy sentences, paragraphs, entire chapters. <S> I've written hundreds of pages of Journey to the End of the Night. <S> Henry Miller, William S. Burroughs, Hunter S. Thompson---copy any and all. <S> Copy anything that you like, or even dislike, to get a feel for how it works on the page. <S> There's something in the brain that is triggered when this happens, you get close to the writing, and, apropos of nothing, one day you will recognize styles in a whole new way, and, more important, switch to them seamlessly. <S> This is, of course, if you're dedicated. <S> I'm sorry <S> I don't have an alternative: I know no other way to come to art. <S> But to me, this was one of the most important elements of writing. <S> As they say, style is the man. <A> It's a process. <S> The first few things you write should be 'in your own words'. <S> Ignore any thoughts of grammar or sentence structure. <S> This will reveal "How you write, your voice." <S> - learn it. <S> Understand it. <S> Novel writing is not about grammar and correctness. <S> Compare. <S> "I live in America with Uncle." <S> With "After coming to America <S> I am, in this moment, living in the house of the brother of my mother." <S> Even though a grammatical mess the second sentence is far more intriguing - it says more . <S> Once you've learned you own voice you can develop character voices. <S> Middle Class English woman - . <S> "I do, however, vaguely remember my first kiss – Roger something, handsome boy, huge hands, the kind of boy I imagine mothers tell their daughters to stay away from . . ." <S> Once you've developed comprehensive character voices you may choose any character to tell your story. <S> From that point forward the job becomes relatively simple. <S> The story is not about YOU - nobody's interested in YOU. <S> As you address your keyboard, get in the 'zone'. <S> Who am I? <S> What are my issues? <S> What kind of shit am I in? <S> That's how actors do it. <A> If you get the voice and approach you want to write down well, then once you have it down, you can keep referring back to it and comparing it with what you have done in the beginning and adjusting. <S> This is not something you would do in a first draft, of course, because then you are writing to discover, but afterwards. <S> It sounds as though you reach the "gold" at the end of your process, so why not use that as the beginning of subsequent drafts? <S> Having a good plot outline that will help you stay on track is another element of planning, in addition to character. <S> Best wishes and happy writing! <A> Write more. <S> * Outline it, then rewrite it, then rewrite again. <S> Your "inner revolution" will evolve and come forth. <S> Then confidence will begin to display itself in writing. <S> All answers to writing dilemmas are in revision. <S> What you're left with is style. <S> * <A> Just go with it in your first draft. <S> An inconsistent voice is common early on. <S> You'll smooth out the voice as you revise. <S> Revision is where your actual writing happens. <S> You'll move paragraphs around, delete and add sections, delete and add characters, tweak character traits, etc. <S> Fixing voice is just one of the things you'll address in revision. <S> This is the fun part.
| Planning well goes hand in hand with this approach: if you have spent time developing your characters and the voice in the piece, you will be less likely to stray from what you've worked to develop. I have had the same problem, and it has been resolved by sticking with what I have put forth at the beginning of my writing.
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What's the effect of placing "of course" at the beginning or at the end of the sentence? Example from my writing: Not everything was rainbow and roses, of course . Sometimes rain would fall on my head or a thorn prickle my finger. Of course, not everything was rainbow and roses. Sometimes rain would fall on my head or a thorn prickle my finger. What's the stylistic/rhetorical effect of having "of course" in those places? <Q> Virtually none. <S> English allows for many variations of word order with the same semantics. <S> The only effect of one choice over another in many cases is a change in emphasis, in where the reader's attention is directed. <A> The effect playing 'of course' at the beginning or end of a sentence is often dependent on the previous and subsequent sentences. <S> At the end of a sentence 'of course' affirms a positive statement. <S> "Everything was rainbow and roses, of course." <S> At the beginning of a sentence it is often as conjunction to introduce a previous or pending contrast. <A> The ordering of your words, phrases, and sentences changes the rhythm of the work. <S> When you read your piece aloud you might notice that "of course" sounds better in one place or another, or deleted altogether. <S> (I'll confess to moving a phrase back and forth in a sentence from revision to revision depending on mood.) <A> You asked "What is the effect of placing of course ..." <S> When writing, I ask myself, "Is this word or phrase nessary?" <S> "Does [fill in the blank] enhance or clarify or help a reader to picture in his mind what I'm trying to convey?" <S> "If I took that word or phrase out of the sentence, would it make any difference?" <S> "Is adding [fill in the blank] superfluous?" <S> "Not everything was rainbow and roses. <S> Sometimes rain would fall on my head or a torn prickle my finger." <S> Perfect flow of words in my opinion. <S> I think the effect of using "of course" is that there is no effect and effect <S> is what you're striving for.
| Both the beginning and the end of a sentence are prominent positions to emphasize something. But really there is not much difference, if any, in this case, certainly not a difference you could rely on reader's being affected by on a consistent basis.
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What to consider when choosing a pen name for a sci-fi novel? I am writing a sci-fi novel with a female main character. My style is lo-tech, more about character development and a beautiful and unusual planet than about descriptions of technology. My target audience is women, and I am a female author. I have already decided to use a pen name, and I don't have any emotional attachment to using a female name, whatever works best. Given these facts, what should I strive for in creating a pen name? Does a more elegant name lend itself to world-building credibility? Does a unisex name or initials still sell better in the Sci-Fi world than a female name? <Q> Choose a male name or use initials only for the first name creating ambiguity. <S> Also if you watch, most folks will go to the middle of the shelf to start browsing. <S> So make sure the last name starts with G-M to get center placement. <A> I would keep it logical and simple. <S> If you make it too wild, people will assume fantasy, or something ridiculous like the Series of unfortunate Events, the author of that being Lemony snicket. <S> I would take from Jules Verne. <S> Two one syllable names. <S> It flows. <S> I personally would stay away from initials and a last name, because one thinks of J.R.R. Tolkien or J.K. Rowling who are fantasy authors. <S> At least don't have a J initial. <S> However, one could also think of H.G. Wells. <S> But mostly you see clear, sophisticated names from sci fi authors. <S> If you decide on a feminine name, I would go with something that sounds classic and smart. <S> Names like Elizabeth, Margaret, Victoria, Blythe. <S> And for last names avoid Z's and <S> X's and anything that sounds too particular to a culture (Like Spanish or Russian names) <S> Easily pronouncable. <S> Unique enough to be the only one and remembered, but plain enough to not make people giggle when they say it. <A> I don't know about what sells better based on gender but a few things to consider are... 1. <S> Your pen name should be something that is easily remembered. <S> If it is difficult to pronounce or otherwise hard to remember, people are less likely to remember it. <S> 2. <S> It should be something that you like, so that you don't mind other people referring to you with that name. <S> 3. <S> 4. <S> Personally, as a woman, I wouldn't mind reading more sci-fi (which I enjoy) from a female author.
| It should be distinct enough that it could not be could not be confused with another author.
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Can my character's name match someone in real life? Is it legally OK that my character's name by coincidence matches someone's in real life, famous or not? (For example I am naming a character Aaron Hale.) The character's appearance and everything else is completely different. Probably a silly question but I can't find the answer anywhere so I'm kinda stuck. <Q> How many Harry Potters do you think there are in the phone book? <S> Or James Kirks? <S> Literature would be full of some truly strange and wonderful names if no character could have a name borne by any real person. <A> I have a friend whose name is Michael Jackson--to make things worse, he is African-American--and no one has sued him so far. <S> But that is real life. <S> When you a writing a story everyone would expect you to name your characters deliberately and expect no coincidences. <S> While legal implications of the problem are beyond my expertise, I would steer clear of the possible matches of such sort, because they will be perceived as intentional, but since it is virtually impossible to create a modern day name which is unused, a standard disclaimer " this is a work of fiction and all resemblances to real people, live of deceased, are purely coincidental. <S> " might be all you need. <A> One of my favorite mystery writers kills off people who annoy her. <S> Annoy her enough and you will end up the character who dies. <S> Some have even auctioned off that right to be named after a character who dies. <A> This is not a copyright issue. <S> As others have mentioned, people can have all kinds of names. <S> However, it could become a character defamation issue. <S> Suppose your "Aaron Hale" has obvious parallels with real Aaron Hale, and in addition to that, you gave some really bad traits to this character. <S> Then prepare to get sued by the real Aaron Hale :) <A> For just about every name, there are multiple people with it. <S> Now most of these real people with the same name will be rather different from each other. <S> One of the advantages of using a common name such as John Smith is that unless you make your character almost exactly like one of the John Smiths, it will be hard to link your character to any one real person. <S> On the other hand, if you use an unusual name like Gavrilo Princip (a historical figure), even "broad" similarities might (wrongly) associate your character with a real one. <S> On a personal note, my first attempt at writing a novel at age nine, featured two women named Theresa Miller and Elizabeth Patterson in "A Telephone Call to Hollywood. <S> " <S> Years later, I read in the news about a CEO named Theresa Patterson of a company called Frederick of Hollywood. <S> Another character I created at about the same time (late 1960s), was a blonde, 5' 4" French speaking woman named Marlene. <S> I actually met such a person, decades later, in Geneva, Switzerland.
| Unless you use a completely made up name, there will be be real people with the same name as your character. Your job is to make your character a different from each of these real people as any of them are from one another.
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How can a book get a Kirkus Star, yet have no sales? How can a 3-year-old book receive a positive rating from Kirkus, and even earn a Kirkus Star, yet still have almost no sales? I have a book coming out in a few months, and I thought if I had a positive Kirkus review, I would just promote it, and put everything on rise control from there. The book to which I'm referring is called "Juggle and Hide." It's sales rank is over a million! Anything under 10,000 is considered good. This doesn't make sense to me. Even when you type the name of the book into Amazon's search field, you can type "Juggle and Hid" (without the "e" to complete the word, and it STILL doesn't autopopulate that single last letter. Even with the best reviews, it's as if the book doesn't exist! Can someone please explain this to me? <Q> It does not mean anybody else did. <S> Something can be intensely liked by a small group of people and ignored by everyone else. <S> It can be a very fine example of a kind of literature that appeals to very few people. <S> The my-childhood-was-wacky-because-my-parents-were-awful genre is probably one of those. <S> And three years is a long time. <S> Everyone who was ever going to buy a copy may already have one by now. <A> There is no one single magic bullet that performs all the work of promoting your book for you. <S> This is why it is so hard to self-publish successfully unless you are also a great salesperson. <S> Most "name" publishers put some time and resources in to promotion, but these days, even with the best publisher, you are expected to handle much of your own promotion. <S> Typically a good review in a respected publication such as Kirkus helps you gain more publicity, because it grants you legitimacy, but it isn't going to sell the book all by itself. <S> It's a good thing to mention in interviews and put on the book cover, it probably drove a fair number of direct-to-library sales, and it's likely to help her sell her next book to a publisher more easily, but it isn't like winning the lottery. <S> There's a very short list of accolades that single-handedly convey success, and that's only because they generate so much widespread publicity on their own: The Pulitzer, the Booker, the Nobel, the Newberry and the Caldecott, Oprah's Book Club. <S> Anything outside of those is nothing more than a boost in the right direction. <A> To top what Mark Baker said, just because it won a award for something, doesn't mean it will translate to commercial success. <S> It is highly rated in Amazon as having all reviews being a 5 star. <S> Surely the people who are interested in it and who have read it think very highly of it. <S> Also just because it won an award doesn't mean it is a prestigious enough of an award to merit global sales. <S> To be honest, I personally have not heard of kirkus award and spent a good bit of time googling it and reading their site. <S> It sounds nice, but it doesn't really seem to do much more than provide monetary compensation for a writing competition. <S> If people are interested in promoting their book through winning awards, it might be best to do research on where you are submitting for an award. <S> Books about a rough childhood aren't that appealing. <S> In the end everyone has had some form of rough childhood from their own perspective and a lot of people want to tell their own version. <S> This isn't bad in itself but most people read books to escape their current world. <S> That is why fiction and in particular fantasy are such huge genres. <S> They want to be taken off into another world and have it not be so close to home. <S> Reading stories that mimic their lives may not be ideal to most people. <S> Books are just like any other invention or product out there, just because it is really well made and wins awards for it being so well made doesn't mean people will actually find a need for it and buy it.
| Regardless though if a book has an award or not, it's got to appeal to the masses. A good review means the reviewer liked it.
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Is there a hack to bring out your "true" voice? I've just approved my typeset manuscript and re-reading the book, I'm aware that it sounds very far away from my internal voice. Whilst it has all of the elements in practice, the colour and fluency feel strained. Is there a practice or hack that anyone uses to help bring the final product closer to the original dream? <Q> It should sound very far away from your internal voice. <S> Your internal voice is the voice you use to talk to yourself <S> and it has all kinds of advantages that your public voice cannot share, since you know yourself better, and have a complete stock of shared experiences with yourself, that no member of the public can ever share with you. <S> The art of learning to write is not the development of your internal voice, but the development of your public voice. <S> Our first poor stumbling efforts to express ourselves are simply our internal voice coming out. <S> Listen to a three year old talk, and you will realize that they lack any sense that the experience of the person they are talking to is any different from their own. <S> One of the greatest breakthrough in the development of our language ability is when we recognize that grandpa was not there when I saw the ducks at the park <S> and so I have to tell him about it <S> so he will know what it was like. <S> Your development as a writer is a matter of refining your public voice, the voice in which you can communicate effectively to people who were not there, who did not see what you saw, did not feel what you felt. <S> This must necessarily be very far from your internal voice, the voice in which you remind yourself what it was like and what you felt and what you imagined. <S> When we say that a writer has found their voice, therefore, we do not mean (or at any rate should not mean, if we understand the process) that they have found their inner voice, but that they have found their public voice, the voice in which the public can hear them loud and clear. <S> I don't know if you have made the full journey from private voice to public voice yet, but you should understand that the development of an effective public voice is essential to your success as a writer. <S> The last thing you should do is to try to return to you inner voice. <S> Rather, strive to perfect an effective public voice. <A> Before jumping to a conclusion about your work, certain things which are not mentioned here need to be considered. <S> Sometimes the writing process can take you out of or beyond what you think of as your "self", and that might not be a bad thing. <S> Give it time to settle and read it again. <S> Such things like the use of a persona, or point of view may affect this. <S> Having said that, it may well be that you have a sense of the style and effect you want and found the manuscript didn't live up to that. <S> In that case, I would recommend re-reading the parts you liked least (surely some came off better to you than others) and seeing if you can revise them or even excise them. <S> Also look at the work overall and see what it is that bothers you. <S> This is something only you can really assess. <S> Finally, show it to someone else and see what they think of it. <S> Hopefully that someone will be willing to tell you if something about it strikes them as not quite right or weak in any way. <S> An objective reader (meaning, not you) will notice things you didn't <S> and I've found that extremely valuable. <S> From my experience (which may not be universal), finding a "voice" requires much writing, maybe over years. <S> I do not think finding the "you" of the soul or life-force is the same as finding your writing voice. <S> The latter can only be done by writing, although finding that voice could possibly help the former. <S> However, writing something you like is different. <S> I've loved things I wrote before I actually discovered my writing "voice." <S> Or at least something recognizable about it. <S> But it's always a work in progress. <S> Remember, you might be doing better than you think you are. <S> Or be a good self-critic. <S> Asking the question itself I view as a good sign. <A> I have often written in a voice that is not my authentic voice. <S> At work and in academia there's a place for that. <S> A manuscript you are not comfortable with is a sure sign that something is amiss. <S> You can then compare the two and see which direction you want to take or if there's a hybrid approach that will work for you. <A> Personally, I tend to write much of my prose in theater form first. <S> In that way, I can put the characters on paper exactly as I hear them in my head. <S> Then I add the prose structure and start editing. <S> In the end it will be quite a different product, but it is the closest way I've found to transcribe my inner voice to paper.
| Only by observing your work over time can you get that sense. If you think it's your voice, you can try rewriting a bit with the filter turned off, the way you would in journal or something else intended for no one's eyes but your own.
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