@Karen856
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: Re: What Is The Key To An "Alien" Culture? Today I am asking for something I've been stumped on: what is the "key" to an alien culture? Allow me to explain: I am currently writing a
Inventing alien cultures is one of the hardest things any writer of speculative fiction can attempt. Too many purportedly alien cultures are nothing more than human cultures in disguise. Star Trek's Klingons are only the West's perception of medieval Japanese warrior culture pretending to be that of humanoid creatures from another planet.
Cultures are created out of mixture of values and behaviour modified by a series of historical accidents and refracted by social, political, environmental and economic circumstances. This means even human cultures can be alien relative to other human cultures.
To put it crassly, Zulus, Cambodians and Finlanders don't basically share American cultural values and are only waiting for them to break out and be expressed in the world. However, humans everywhere want to be treated fairly, shown respect, and want their points of views and opinions to be considered in decisions affecting them.
Sticking with humans, we generally share common emotional responses to what hurts us and what makes us feel good. Consider the following hypothetical example. A woman is jilted and left at the church unwed. In front of all her friends and family, she is devastated. This is her human reaction to this set of circumstances. Different cultures determine different responses.
Culture A: She is ruined woman and commits suicide.
Culture B: Her brothers swear vengeance to hunt down the bounder and surgically remove parts of his anatomy.
Culture C: She says rats! There are plenty of fish in the sea. Everybody goes to the Wedding Party that isn't a Wedding Party and gets merry.
These are hypothetical cultural responses. Their emotional basis remains a human response. Behaviour and the values determining what they do in response are what constitutes their culture.
Now a truly *alien alien will be a creature with a different culture shaped by different history, different economic circumstances, different political political systems, different legal systems, a different environment on their home planet, and what can make even more dificult a different biology.
So much of human culture is driven by our basic biology and especially our reproductive behaviour and biology. Aliens from advanced technological civilizations will have found out how to control their biologies and modify their behaviour to their own advantage.
Creating aliens with different evolutionary histories and different biologies is hard enough, without trying to create cultures appropriate to them.
So fat this answer has discussed the simple fact that creating aliens is hard, and creating alien cultures is even harder. However, it is reasonable to assume that ethical behaviour will be common to any sapient species anywhere in the universe. Humans and aliens will probably share similar ideas about fairness, kindness and good behaviour. Their values may radically modify how and what is considered fair, kind, just, and behaving well. But it will be the common ground between your bratty Sarah and her Moon-based alien friend.
Apologies for taking the long way around to get to the point.
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: Re: Your character has something wrong with them, they are supposed to be strong I am a young author writing a fantasy series. In my story, my MC is strong, resilient, and always needs to look
Internal Flaws should have External Consequences
If a flaw's only consequence happens when its too late to change anything (in your example, going insane and dying) there's no drama you can add that will provide the turning point for them to overcome their flaw. IE: A stubborn character needs to pay for their stubbornness before they will decide to not be stubborn any longer.
In your case, if your main character is slowly going insane - create consequences for that insanity. Do they rage at their friends and allies, driving them away? Do they mentally or physically hurt others? Do they unintentionally sabotage their own larger goals, enabling the antagonist to claim victory? Any of these can serve as a turning point, where the protagonist realizes the error of their obstinate stance. And the more such events you add, the more implacably obstinate the main character appears in the face of obvious mistakes they are making.
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: Re: This is a problem that doesn’t seem to have an answer My bad guy is very very very complicated. My entire story exists because for thousands of years (no one knows why) regular people from
Everyone is always in conflict, and everyone stands at the precipice of fulfilled wishes and realizable dreams, only to step away from the edge.
She wants to never die. She already has this with her soul being protected in the necklace. There must be some benefit, some pleasure, some power that comes from living united with one's soul. This benefit can grow to motivate all types of "magical thinking" for how she might imagine she can have both immortality and live.
It could be simple, like without a soul you can't enjoy food, or music, or sex. Any of these desires, and gold-plated memories from her past, may bend her toward a path of mortality. Memories of rotten food, out of tune music, or disgusting lovers push her back toward immortality.
Eventually a human who isn't human (a halfbreed, chimera, gollum, or robot) wins her heart through some insightful cooking, singing a haunting love ballad, and giving her (perhaps unbeknownst to either of them) the necklace he found attractive and bought from the bearer. They start playing sexual dominance games involving bondage and safe (not steel) weapons.
Then cometh the end.
I went too far with one of many resolutions, but the balanced conflict is there, intrinsic in the loss of soul but not volitional existance.
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: How widely-used is the term "omnibus?" I know "omnibus" to be a term describing multiple novels put into a single book, but I've never really heard or read the term anywhere else.
I know "omnibus" to be a term describing multiple novels put into a single book, but I've never really heard or read the term anywhere else. Because of this, I'm curious: how widely used is the term "omnibus?"
Context: I am writing a piece where I am considering the use of the word, but am unsure of whether I should use it because it may be archaic, obsolete, or just not widely used.
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: I would say go for it! If you have the possibility of contacting a "proper author," there's no reason not to. If they get back to you or someone from their office does, that would
I would say go for it! If you have the possibility of contacting a "proper author," there's no reason not to. If they get back to you or someone from their office does, that would be a huge help to you. And no offense, but if they don't get back to you, they probably won't remember you either so there's nothing to be embarrassed about. There's really no risk in it. Additionally, I would say just keep writing. Your first piece probably won't be perfect, but you can still get feedback on it from communities like this and even from publishers if you decide to submit your work to them. Either way, there's no reason to stop writing.
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: Re: How do i write a sci fi/horror story that's not too cliche? I'm currently writing a story based around a human subject with superpowers who escapes out of a lab after like 12 years of excruciating
Do not be afraid of cliches. They are cliches for a reason. often they're the better story ideas that fall out from whatever concept they are part of. So one solution would be to simply embrace the cliches and run them ragged. Basically to get them out of your system.
Having done that, the real work can begin. This involves looking at each cliched element in your story and subject them to six tests. The six tests are: why, what, how, who, when, and where.
What are your human subject's super-powers? Who is or was your human subject? How did your human subject use their super-powers? Why is the superhuman being held? Why are they mind controlled? Why are they subject to excruciating torture? Who are the torturers? Why are they doing it? When is this happening? In the past? In the present? In the future? Where? USA? UK? EU? Brazil? Iceland? Cambodia? In an alternative world?
Each question you ask should have a concrete and specific answer. Cliches are cliches because writers reproduce them without asking how or why they work. Putting flesh on the bones of a cliche will bring it to life. Making something that lives and breathes, and has its own autonomy.
Goodbye to Mr Cliche, Say hello to newly minted version of an old story (but only if you look closely enough).
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: Re: Do I have to start my story with my main characters? What I mean is, does my story have to start with my main character being introduced, or can I start with their parents and then ease
Be aware of the consequences
As with all things in writing, you can do it, but doing so will impact how your writing comes across to readers. There are both drawbacks and advantages to using this technique and you should be aware of both when deciding if you should use it.
Drawbacks
The main drawbacks are the potential of disconnection with your eventual main character. Your audience thought they were getting one thing, began getting attached to the first character you present only for you to bait-and-switch. I know of several readers who have simply put down books at this point because they no longer felt connected to the story. Notably I think of the dystopian novel Wool by Hugh Howey, I personally enjoy it but several other people I have recommended it to struggled to get past this point.
Advantages
The advantages of using this technique depend on your execution. Done properly it can introduce the settings and stakes of your story in a way that you could never do with only a single main character. It can help start your narrative in a moment of action without requiring your main character to have experience it. It provides a window of exposition beyond what you may normally see, letting you set up your world in more detail, giving more weight to what makes your main character special.
To again draw from the Wool example. In the first section of the novel we see how things normally play out for people in this world. What the consequences and stakes for their actions are, and the likely outcome. So when we meet the main character we can appreciate how they breaks these norms. Without the setup chapters/characters we, as readers, wouldn't comprehend the gravity of the decisions the main character makes or appreciate what makes them special.
What are your trying to achieve?
When using a major narrative technique like this the key thing to keep in mind is what are your trying to achieve with this section? What point are your trying to portray to the reader? Keep that in mind and try to objectively assess if your work is achieving that goal. Don't hold on to a technique that isn't having the impact you want purely for the sake of using it.
Ultimately the answer is, you can do it if you think it works. Try it, write a draft of your story and then step back and see if it is working the way you intend. If the drawbacks outweigh the benefits, consider reworking it. If not, congratulations you successfully wrote a thing!
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: Re: Do I have to start my story with my main characters? What I mean is, does my story have to start with my main character being introduced, or can I start with their parents and then ease
What genre are you writing in? What's appropriate in one will probably not be appropriate for another.
E.g. Fantasy novels often start with a hefty prologue that tells the reader something about the world the story takes place in, but does not feature the protagonist, because their introduction needs to be drawn out. Game of Thrones is a great example, it introduces the central concepts of the Night Watch, Wall, North, Others, etc. A YA high-school focused novel doesn't need any foundation building and shouldn't waste any time until introducing the protagonist(s).
Also, are you trying to write something that you expect to try and sell commercially? Because if you are, you need something that will hook a reader, whether it's browsing in a book store, or reading the preview in Kindle. If you have a scene in your mind that's compact and captivating, but should logically take place in the middle of the book, pulling a bait and switch and putting it first is acceptable for commercial reasons, even though it might slightly degrade the flow of the story.
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: Re: Can I use abbreviations in a manuscript? When writing a book manuscript, what is the proper way to write something like Main Street? Is it OK to use Main St? If I use the abbreviation, is
You can, and it might be OK, but I'd reframe the question by asking why you would want to do that. Does it add something to the manuscript?
If you're writing in an intentionally less formal style, that might be the case. Otherwise, I would avoid it. No one is going to be put off by seeing "Main Street" when they would write it as "Main St.", but the reverse might not be true. Imagine someone reading the manuscript out loud. Could they read abbreviations as written rather than as intended? (This will depend on your audience.)
Also, be careful of ambiguity - particularly if the context doesn't make it clear. ("Who is this Main Saint you're talking about?").
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: Re: How can I handle a powerful mentor character without killing them off? I'm writing a book series that involves people with various superpowers. One of these characters and is more or less the
Some of the greatest people in history have been brought low by some adversity and been unable to rise back up to previous glory. Crippling depression for the mentor might be the answer for this situation. If you are struggling to get out of bed and shower you may not be a reliable force for good. In a good dramatic story this could be triggered by being manipulated to work against their goals/nature, being elsewhere and losing someone important to them, making a wrong decision and getting a bunch of people hurt/killed, coming to the realization that what they are doing is futile, etc.
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: Re: How do I punctuate a slogan? I have the following slogan: I sell, I build I want to make sure it's clear and concise. I did not add a period, because I know it's not a full sentence. However,
I sell, I build
You say it's not a sentence. It is actually two complete sentences, "I sell." and "I build."
If you search online for a very famous 'slogan': Veni, Vidi, Vici, you will see many punctuations for this. Some have commas, some have full-stops, some are in upper case, some are in lower case.
If you look at these examples, you may see one that best suits you. Note that it may depend on whether the sentences are next to each other or above each other.
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: Re: How to write better introductory passages (usually the first paragraph in the chapter that introduces the setting)? Each chapter of a novel usually has an opening paragraph, or an introductory
The opening paragraph for the entire novel definitely ought to be something for which you are specifically aiming at bang-on and flavorful, leading into the setting that will start off the first action. But as a writer, I would not recommend that it is necessary to attempt something overly grand at the introduction of every chapter.
Here are some guidelines I would follow.
A. First, the point of an introduction is to familiarize your reader with the character(s) and setting of your story. Thus, if your new chapter is following a chapter with the same character(s) and the same setting, it is simply best to continue it from the previous chapter without attempting an intro of any kind. Just carrying on with the story will flow the best.
Example: At the end of chapter 7, Ruby has gone to bed. Chapter 8. Ruby groggily checked her watch as she put it on. Good - it isn't 6 AM yet.
Example: At the end of chapter 22, Leo and Tom are hanging from the edge of a cliff. Chapter 23. "I can't feel anything," grunted Tom.
In these examples, I am showing you how the chapters don't really need any kind of introduction if you are continuing the same story in the same setting with the same characters. It flows best if you keep writing where you left off, almost as if there is no chapter break, just a paragraph break. But there are times when you do want an intro in your new chapter!
B. If your next chapter switches to a different character (or characters) or changes settings drastically from your last chapter (such as if a different dimension has been entered, or a great amount of time has passed), you will need to make some introduction.
Example: At the end of chapter 7, Ruby has put herself to sleep telling stories, and has been carried to bed. Chapter 8. Lily had been sitting in her grandmother's armchair for the past two hours sifting through the photo albums. It was nearly time to make dinner - but one of the photos caught her eye. It pictured her grandmother, asleep in the blue tapestry armchair Lily had kept. It reminded her of how her Grandmother Ruby used to sit in it to tell her brothers stories at bedtime, but she'd put herself to sleep before she finished!
Example: At the end of chapter 22, Leo and Tom are hanging from the edge of a cliff. Chapter 23. Christa slammed the phone onto her desk and wanted to do the same with her head. Today was the exact opposite of what she needed after Tom's night shift. She was relieved he would be home tonight, but first she had to get through her shift.
In these examples, I am showing you how you need to make an introduction when you are switching scenes in a new chapter. These examples are a lot longer because I have put more detail in them, since they need more explanation to show exactly what's going on here. The story is not just picking up where it left off last time, we are being introduced to a new place and new people, or switching to a different place with different people.
Now onto the juicy part.
How to create these intros where they are necessary?
I would completely agree with DM_with_secrets' comment on your question where he asks if this is even necessary. As I have been iterating above, sometimes you need it, but it really depends on the effect you want to give your reader. Stories can flow just fine without trying to write an introduction for each chapter, even when you are switching scenes. Often, the less is said, the more is felt. Sometimes, you want to produce some dramatic effect, such as transitioning into a dream without your reader realizing it, or the opposite, such as the character receiving dreadful news and not knowing what reality is, and realizing it was all real all along and his life is a wreck. In these cases, the less you say, the less your reader will find out until you decide to open their eyes! Nevertheless, I will try to give you a couple of tips for making intros if and when you do.
Don't try too hard! It's better to jump right into the story than to have some perfunctory passages to read through that will lose your readers' interest.
Try starting with one of these four things, and see if you like how they sound as an opening: Dialogue (maybe an exclamation, such as Lord Peter Wimsey's "Oh, Damn!"), Name (Filbert did such a thing at such a time with a hoarse guffaw), Prepositional Phrase (something catchy? "In a hole, in the ground, there lived a hobbit" or "Towards the mountains, they could see rain graying the skies" etc.), or a sentence about your subject that simply makes no sense by itself ("That was it." "He never smiles." "His dog started it." etc.) and then explain it.
You're right - too much detail bores everyone (Ahem, myself!). Instead of filling an introduction with details about your subject - spread them out, possibly using one of these methods: Distractors (write about other things, people or events, using them as excuses to bring out all kinds of things about the quality of your subject as quickly or slowly as you like), Actions (let your characters' actions reveal things about the subject), Dialogue (again! Dialogue is irreplaceable if you like writing it, and you can really detail a subject through the means of conversation).
What if there's a ton you want your reader to know right away? You can put more information in the introduction while staying interesting by having your character give an introduction or be introduced in whatever setting you need to provide your reader with that info; maybe an intelligence agency is investigating him and reading off his profile. Maybe the hostess is introducing her as a speaker to the Cauliper women's writing club on the planet Shaod. You can also just write something about Mabel Minck, who was a 26-year-old woman from Bismark, who loved to paint with watercolor and acrylic when she wasn't interning at the veterinary lab, and go from there. I recommend this not so much, but it's an option). Anything!
Something that might help is doing different things with each chapter. for example, if you started Chapter 6 with Angus' name at the beginning of the sentence, start chapter 7 with somebody's dialogue, and then perhaps chapter 8 with the noise the neighbor was making that woke him up from his nap, just to change things up.
Just to sum up: if you aren't switching between characters or settings in a new chapter, you don't really have anything to introduce, and your story will flow best without any intro in your opening. If you are switching, figure out what you really need your reader to know, and keep it as short and spread out as possible so that you have the freedom to keep the story moving, flowing, interesting.
And finally (I can never ever say this enough) - writing is an art! There are so many styles out there, so much artistic freedom, so many possibilities to explore! I'm sure people with other comments will be able to offer more and better advice, this is some of what I can share from what I've learned so far (I still have lots to learn) and I hope it's a help.
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: Lots of ideas, but don't want to tell stories I sometimes have ideas for what I think might be compelling stories - most would fall in the category of fantasy/science fiction; however, I realise
I sometimes have ideas for what I think might be compelling stories - most would fall in the category of fantasy/science fiction; however, I realise that I have no real interest in telling stories. I write good prose and explain well, but I tend to write about technical matters, generally speaking, and if I set out to write a story, I quickly get bored and start thinking about the logical/technical/scientific aspects instead. Is there a 'market' for story ideas? I don't mean in a commercial sense, all I'd want is a kind mention in the forewords or something, but something like a forum where I can offload my ideas and the real writers could browse around and discuss?
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: Re: My protagonist being needed for my story is a life changing event, does that mean the event needs to be in my story? My protagonist is a first-generation native on a colony world. The general
This might be completely personal preference, but I would definitely start with the whole exploring thing. It's a great way to establish your MC, and can act as a good contrast to the more compelling segment that comes later as things start to get serious. It can give your story a kind of scary shift, making your reader comfortable in the setting of the MC peacefully exploring the planet, with the occasional minor conflict here and there, before suddenly slamming the reader with a looming threat.
The whole shift in treatment, the MC being an unproductive outcast at first and then suddenly becoming essential, that is gold. You want to harvest the goods of that aspect, and to maximize the impact of that shift, you can't just include it as flashbacks. The reader needs to experience this gloomy state of being an outcast, and then experience the thrill of finally being accepted again, as well as the thrill of proving everybody wrong by the MC showing their worth.
Though, this is probably mostly my opinion and not the objectively better way to structure your narrative.
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: Re: How should I write an autobiography if some elements are illegal? Lets say that I wanted to write an autobiography but some elements of my life (particularly relevant to certain choice) are
Have you seen the movie "Boyhood"? A good example of a fictional life story, that probably has elements of the writer's real life in it. You can insert your entire life. If it is branded as fictional, no-one can say what's real and not. If you're currently as suspect of the crime in question though, I wouldn't do it. Pretty sure it could be used as circumstantial evidence, and even if it couldn't, it could still point the authorities in your direction, causing them to do further investigation, potentially leading to your prosecution.
If I ever get famous, I'll write an autobiography. And it'll have all the details, from the embarrassing to the criminal and morally abhorrent. That's the only way one can write an autobiography - brutally honest. That is the only way it can actually convey a truthful message, and not a manufactured one. Thing is, I would publish it as an old man with little left to lose. Who would bother arresting me? And if they did arrest me, some prison wouldn't be much worse than an old people's home. At least not the prisons in my country lol.
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: When does a partially random event go from reasonably possible to contrived "deus ex machina"? There will always be some amount of luck, some amount of chance and randomness in any story. This
There will always be some amount of luck, some amount of chance and randomness in any story. This is how it is in real life as well, and although stories are not a representation of reality, they do build on it.
So, there's this part in my book that I fear might be a deus ex machina, because it is very significant and provides a solution to a conflict, yet has a great element of luck involved. Here it goes:
The MC is badly wounded by a gang of violent gold miners. It is established beforehand that these gold miners acquired their land through a massacre of Native Americans camping there. These native Americans are nomadic, yet they happened to be camping at that spot for a little while and didn't really like the fact that these savage men came into their lands and started digging for gold. These men didn't quite enjoy the natives camping out there either, and so a conflict ensued, where most of the native Americans were killed. This is all established in one or two lines of dialogue concerning the boss of that gang, masquerading as primarily being character establishment for the boss, when in reality, its main purpose is to inform the reader about natives. Their nomadic nature (which is kind of important) is not mentioned, though, but that is implicit in the fact that they are Comanche.
So, the MC survives this beat down, and recovers, only to wander the wilderness completely lost. This is around the Texas-Colorado border, so the wilderness he is lost in is mountainous forest area. Eventually, he makes it out of the forest and nears Texas again, returning to the Great Plains. He does this because he figures it will be easier to spot people on the Plains than in the desolate woods. And spot people he does. He is attacked by a rather hostile native. When the native approaches him to finish the job, they see the MC's dire state and how, clearly, the MC is not a threat, despite their white skin and white clothes. The native's hostility is based on the MC's skin is a clue, although being a bit common considering that many other natives were also mistreated by white settlers.
The native treats the MC's wounds and helps them back on their feet. They do this not only to right the wrong they did but also because the native senses a connection between them and the MC. This is the second clue. The native seems quite depressed and gloomy, which is the third clue. Eventually, through conversation, they find out they have been wronged by the same man and gang, the native being the only one alive from his tribe. The native also finds out their daughter is a captive in the gold miner's camp, instead of being dead, like he thought. That is when they set out to take him out and rescue the daughter, which they succeed in. Now, you might think, the MC gaining one friend to help him out on this endeavor isn't that significant. Though, I am not sure if I'll go with exactly this narrative. I might go with a narrative where there are multiple natives left, who take the MC in. When the MC then reveals he was wronged by the same man as they were, and that the chieftain's daughter is living as a captive in their camp, then they all set out to take the camp out. In this alternative, the MC is even luckier.
Yet, could one say he is even that lucky? I mean, this is all happening in the same general location. The tribe in question is a nomadic one, meaning they move around in the location, which increases the likelihood the MC would eventually stumble over them. So, does this seem like a "deus ex machina" to you guys? How can one distinguish from a reasonable amount of luck, and a "deus ex machina" amount of luck? Does one simply have to experience the narrative objectively, to feel whether it feels contrived or not?
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: Re: How do you contact Hollywood directors? What legitimate websites or methods can I use to contact a few directors about making a movie from my book? How many pitches for movies does a director
You don't. Directors do not of themselves decide to make a movie. This is decided by the studios. The studios will then usually approach directors to see if they want to direct said movie, based on the script.
Basically because they're the ones that have to put up the money to make a movie. Since movies cost many, many millions of dollars to make they are not unsurprisingly cautious about turning any book into a moving picture.
Yes you can approach directors, but since they usually make their decisions based on movie scripts. In general, they won't interested in reading every book that comes their way before deciding to make a movie out of it. Certainly some directors do decide to make a movie based on a book they have read. These directors may also write the script for their own movies. They still have to go to the studios to get the money raised.
Sadly it looks unprofessional for a writer to approach a movie director and say I have written a book and I'd like you to make a movie based on it. Being unprofessional will kill the project stone dead before it gets out the door.
Being professional, you should either write your own movie script based on your book and join the Hollywood scriptwriters' guild or possibly approach a script writer who can determine if your book (a) can be made into a movie script, and (b) is even worth being turned into a movie script. Basically a book by itself won't sell its way into becoming a movie. Someone has to write that script.
Next you will need an agent to hawk your script around the studios and even to movie directors and producers. never forget about producers, they're the money people behind the scenes. Having an agent is professional, without one you will get nowhere.
Remember you are competing against battalions of other hopeful writers who believe, usually wrongly, that if they can approach a movie director it will get their book, magically, transformed into a movie. That might happen in a movie, this is reality.
Oh, yes, there is one way you can get your book made into a Hollywood movie. Write a bestseller that sells millions and which by its very nature demands that it should be made into a movie. Then the movie people will come to you. So write the best book you can and hope it's pure gold movie material.
Forget about chasing Hollywood directors. Find out everything you can about the movie industry. Write your movie script. Join the screenwriters' guild. Be professional always. Hire an agent. But first write the best book ever.
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: Re: Character Relationship Mapping Software I'm attempting to lay some groundwork for a story that I've been working on in various aspects for a good many years now, and I'm finding myself in need
Try Graphy! graphy.studio It's Free. Here is an example relationship map for Neon Genesis Evangelion: graphy.studio/graphs/Jn9s9EenF1QgOIUtbbqm.
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: Re: How do I write a computer-savvy/hacker character? I have a character in my story for whom being computer savvy is supposed to be a major personality trait. The character works with computers
There is a problem with the work "hacker"
If you are using the work "hacker", you need to also specify the timeframe. In the sixties and seventies, "hacker" was a word of praise used to describe someone who was able to creatively see through complexity and find ways to do things that other found to be elegant. To be a hacker was to be at the top of the craft.
That changed to the point where "hacker" is often associated with "criminal", and the practice is more like breaking and entering that elegant solutions to very difficult problems.
Speaking as one such "hacker"
Personally, I am a deeply formed engineer. My ex-wife commented that I see the world as blue-prints. She is not wrong. I see time sequence diagrams. I follow stress lines in structures. I visualize HTTP packets flowing as I type this answer.
You want to write someone who sees the insider workings of things. It isn't that they possess occult knowledge of mystical scripts and secretive root-kits. It is that, to them, what is hidden (yes, I know that is a synonym of occult) to some is exposed to them.
Examples
There is a story in Richard Feynman's book that covers this: A boy fixes radios with his brain. The cartoon "Dilbert" also captures it well. I found the YouTube version: The Knack.
I wish you the best, and I would like to meet your character.
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: How to include figures and images in body text I am writing a text (following MHRA style if that makes a difference) which refers to several images throughout, but am unsure how to include
I am writing a text (following MHRA style if that makes a difference) which refers to several images throughout, but am unsure how to include them in my body text in terms of writing style.
Does it have to be written as 'In figure 3 we can see that ...' or does it just sit in brackets (see figure 3) while the sentence reads more normal? Or can it be both, depending on sentence flow?
I have styles for the actual referencing and inclusion of the visuals, but couldn't find any guidance on how to put them in the actual sentences.
Thanks!
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: Methodologies to organise writing/copy/editing tasks This question is all about methodologies to handle the workload efficiently for a freelance who deals with copy/editing of documents/articles. In
This question is all about methodologies to handle the workload efficiently for a freelance who deals with copy/editing of documents/articles.
In my branch (IT development) we have Agile Methodologies that help us to deal with development process, from the beginning to the end.
I had a conversation with a person, who does copy/editing of articles, regarding which would be the correct methodology to deal with big amount of job by making the client be aware of the status/difficulties/blockers. I would like to know if there are effective planning techniques like Agile methodologies do and someone who is using them efficiently. Something that can be easily understood and accepted by employers/clients avoiding, as much as possible, delays, misunderstandings, and overloads.
Is there any case study to take a look at? Books? Something that a professional copy/editor should know/use in order to make the organizational part less painful.
I hope to write my question in the right place due to the multiple topics involved.
In case I made a mistake can someone suggest me the right place to ask?
Thanks
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: How do I avoid using punctuation inside quotation marks in technical writing? As a computer programmer, I comment my code. For example: The following lines are dependent on "source 1" and
As a computer programmer, I comment my code. For example:
The following lines are dependent on "source 1" and "source 2".
"Source 2" is a user login and password. Overall, the purpose is to
retrieve an AWS token The ajax call to an AWS Gateway requires a
token.
I double quote "source 1" and "source 2" to make it clear they are entities.
Should I use double quotes or something else, such as italics or bold?
For double-quotes, should I put the period inside or outside the closing quotation mark?
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: Re: How do I find an expert to help with theological science fiction writing? I am in the process of writing a theological science fiction novel. My interest in this genre is motivated by reading
You will need to ask around. I suggest going to your nearest university or theological college and inquiring if they have anyone on their staff who is interested in both science fiction and religion.
Most universities have departments either of theology or religious studies. Theological colleges are engaged in training priests or minsters of religion. Avoid religious training institutions focused on fundamental religion.
There is always a good chance someone on the teaching staff whose interests will include science fiction. Explain what you're trying to do and what role you would like them to play in assisting your writing.
Catholic teaching institutions would be a good choice. Catholics always have had a rich tradition in theology. This can be true of Non-Christian religions too, but it takes more specialized knowledge to work your way into them.
You can seek out the sort of experts you are looking for online by doing internet searches for people who either discuss science fiction, religion and theology or blog about it. You will be able to see what they write and whether they will be the sort of experts you want to consult.
Good luck with your project.
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: Would you advise against having a fictional continent as the setting for a Science Fiction story? Let me elaborate. In things such as Game of Thrones and Lord of the Rings (so, high fantasy),
Let me elaborate. In things such as Game of Thrones and Lord of the Rings (so, high fantasy), fictional continents are quite often the setting. I don't recall ever seeing this in Science Fiction. My world does include both modern technology (cars, computers) as well as futuristic technology such as advanced aircrafts and exo-suits. The reason for wanting to set it on my own fictional continent is so I can create a unique world including a huge technologically advanced city to the North (technology is scarce in the rest of this world), deadly forests, and creatures that live in the wilds all on one land mass. I considered setting the story in a post-apocalyptic version of an existing country, but I don't think the world I envisioned would be quite as dynamic if I had to build it within a 'template'.
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: Re: Can self publishing be taken as a full time work? Everyone is talking about self-publishing as a passive income source, not active. Can self-publishing be taken as a full time work?
Yes, it is possible to make a full-time living self-publishing -- my partner does it.
That said, if you write novels and publish them yourself, you'll spend some money before you make any (you'll need to pay at least one editor, likely pay someone to create a cover, possibly pay someone to format the book to work correctly in epub, etc.). Then you'll need to build a back list, because even if you write a best seller and get enough in a couple months to buy a house, it's the back list that pays the bills from month to month.
Based on my partner's experience, it generally takes about five years of writing top quality novels to build a backlist that will sell enough to keep a roof over your head after a best seller -- and probably longer than that, if you don't have that best seller to get people searching for your name.
So, short version: yes, it's possible, but it isn't quick, easy, or reliable.
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: Beginning a story in a bar, good or bad? Currently writing a novel about a man spiraling downward following a divorce, among other things. I want the reader to be grabbed by this man even
Currently writing a novel about a man spiraling downward following a divorce, among other things. I want the reader to be grabbed by this man even though by all accounts he's a bit of an unsavory character (albeit as a result of his issues), I was considering beginning the story in a bar. Showing him within the proverbial pit but I feel like it's just such an overused beginning of stories surrounding similar issues. What is your opinion?
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: Re: Where can I find a beta reader for grammatical issues? I’m looking forward to finding a beta reader to help getting me past my grammatical inaccuracies during my attempts at writing short
Well, when it comes to people critiquing your work, any critique site will do (like Critique Circle), but you really should let them know you're interested in grammar checks, and not a substantive critique of your work.
That said: I wouldn't say this is the absolute best way to become better in English. Not when you don't enjoy writing (it sounds like that considering you have to force yourself everyday). I'd suggest picking up a few books and reading them. Not only do you learn a lot about English syntax, but you can expand your vocabulary. The very best way to read if you have this goal is to buy a kindle and read there, as then you can on the same device, in the middle of your reading, check out word definitions and whatnot. Also, Youtube is a great resource for learning grammar.
From one ESL writer to another ;)
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: Re: How many pages is a 90,000-word manuscript supposed to be? I use white space in my novel. Right now it's 5000 words in 30 pages in MS Word. Font is Times New Roman, 12 pt, double-spaced.
Common mass market paperbacks run between 250 and 400 words per page, so if you're aiming for the same density of type, 90,000 words would run to around 300 pages, give or take 20% or so.
Manuscripts today don't have to adhere to "standard manuscript format" as was the case for nearly a century, from the invention of the typewriter until e-publishing rose. It's often more sensible to write in the final format you expect your reader to see, if page layout, potential illustration, and such things are important to you.
Carrie was almost certainly submitted to a traditional publisher, on paper, double spaced, Pica type, with minimum one inch margins and a half page white space on the title page and for each chapter break. That formatting was intended to make slush readers' lives easier, by giving a very quick easy reason to reject a manuscript from a clueless new writer, as well as to leave space on the page for markup by an actual editor if it ever reached one. With modern technology, you can potentially bypass all those steps and do everything yourself (or contract out things like copy editing, content editing, proofreader, etc.).
So, comparing to the manuscript for Carrie isn't really sensible -- but if you want to see how your book will look in paperback, you can easily set up your word processor's page layout to match that in a trade or mass market paperback -- page size, proportional fonts, kerning, line justification, as much effort as you want to go through.
My own suggestion is to not worry about it while you're composing; save that part of the job for after the story is done and you're turning the completed story into a book (whether for print or e-publication).
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: Re: Italicizing dialogue punctuation I know CMOS 17 section 6.2 says, "All punctuation marks should appear in the same font—roman or italic—as the main or surrounding text, except for punctuation
I've always had trouble with this, but when it comes down to it, I usually stick to what looks natural. For me, that's "Yikes!" rather than "Yikes!" Same with question marks. It just seems a lot clearer visually. I've read professionally published books with both, I believe. If I find a better answer, I'll definitely give an update.
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: Re: How to write painful torture scenes without being over-the-top I'm trying to write torture scenes but I'm not really all that confident about it since I've never written anything like it before
(yes I'm aware that this was asked over a year ago, but I always like to put my two-cents in when it comes to writing advice)
My advice might have been said already, but I tend to write a lot of torture scenes ranging from stab/gunshot wounds to being eaten alive by vultures (fun times, I know), and from what I've learned as I've written and watched people's comments on my work, less is more. Of course, there are always exceptions, because let's face it, most rules of writing can be broken at some point or another. I'm not entirely sure how much you're going for, so I'll start small and build up. That way, if something I describe starts getting uncomfortable, you know not to keep reading.
Lots of people before me have suggested flashing through the actual torture bit, but if you actually want to write it out, but are still scared, try this: psychological torture. Be warned, though. This kind of torture typically takes a long time if there's no physical pain involved. Like, months. I've read too many books both published and otherwise where psychological damage without pain is gained within the first few minutes of torture. That's not realistic. There's different ways to do this, but just Google "psychological torture" and you'll find some fun stuff. Remember, torture is not about the pain itself. It's about the fear of pain. Use this. It's your most important tool. Get good at describing fear, and you'll have your torture scenes, as well as your suspense scenes, come together coherently a lot faster.
Say you want to include pain. Sounds good. One thing to know, though, is that if the pain is intense and long enough, the victim will say anything to get it to stop, whether that's true or not. If your torturer is experienced, they'll know this. Be aware of humans' reactions to pain. Again, Google is your friend. You can even find a lot of this without running into really graphic stuff.
My number one piece of advice? Take it slow. Write short, quick sentences describing initial shock and pain, and then use longer sentences to describe emotions and thoughts. If you want to add more description and more pain, spread it out among the other parts. People in intense pain tend to feel things almost slower. Take advantage of that passage of time and take breaks from the actual pain and wounds to focus briefly on things like tears, restraints, sounds, glimpses of the torturer's face, etc. Spread the wounds out in your writing. This gives the effect of slowing time to the reader as well, and even if you aren't graphically describing the actual torture, they might feel right there next to the narrator, helpless and afraid.
All this other stuff is just for if you want more advice :)
Most successful writers who include pain (who aren't writing for the horror genre, because that typically focuses on gore) also include the shock. For example, when a character gets stabbed, it may take them a second to realize what had happened, especially if it came as a complete surprise. If this character is the narrator, first or third, this second can feel a lot longer, and you can do some pretty powerful things with that brief moment of silence. Therefore, you have part of your scene written without describing gore or even pain.
Next comes the actual, physical pain. If you want to keep it light, keep it brief. Quick visualizing words for pain include stabbing, burning, searing, shocking, etc., though I find myself using those a bit too frequently, so you can always come up with more creative words (or just use a variety). This is your focus. After all, you want your readers to feel (or at least imagine) what your character is feeling. If the narrator is the victim, you can do a lot with this. Look up specific reactions to pain, because other than the pain itself, your character can also sweat, clench their muscles/teeth, scrunch their face up, have trouble breathing/moving, etc. If the narrator is watching, a good idea is to briefly include what the victim looks like they're feeling, and the narrator's reaction. For example, the narrator might vomit at the sight of the victim being stabbed.
If there's a wound involved (which there almost always is), an option is to briefly describe it physically from the narrator's point of view. If they can't see it, skip the physical description, or add how they think it looks. This can be as brief as "blood oozed from the knife wound" or you can go into more depth, though I'd keep it to three sentences, maximum, because as mentioned in other responses, you don't want to numb your reader. This is not your focus. This is just to give your readers a quick visual. Personally, I'd rather read about the pain and what the character is going through rather than what it looks like.
The trick with this: constantly (you know, to an extent) remind the reader that they are injured, hours, days, and sometimes weeks after the fact. If you don't, it's unrealistic. If you Google modern torture cases, you'll get a pretty good idea of how much psychological damage torture does. You have to keep this up through the rest of the story. This is one rule you should never break.
Other quick tips: 1. giving the torturer a good, rounded reason to actually torture makes the scene really creepy without much pain. You can slowly drop hints of their motivation, and let the readers figure it out, or you can have them actually mention it. I would suggest the first, but to each his own. I've seen it both ways. 2. remember that your character most likely can't get up and walk away afterward, even during a breakout with others helping them (unless they're carried uselessly). Don't pull a Mandalorian and go "stop. I can stand" and have your character walk off as if they didn't just have severe brain injuries (no hate on the show, though, I love everything about it except that one scene).
Really, just do your research and incorporate it in your writing, and you'll most likely do just fine.
As mentioned in the beginning, I tend to write pretty violent and graphic torture scenes compared to the example above, but the basics are the same. Hope this helps!
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