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Last seen: Mon 17 May, 2021
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: Re: How do I draw attention to a girl's chest without making it overly lewd? So, I have a group of main characters, and the current viewpoint character is going to introduce a... very well-endowed
I was reading this question because I needed a way to describe, uh, boobs as well, and since I’m a really careful person, I did it in the most subtle way I could. Hope this helps you or anyone else looking for the answer—
Next to him, a girl teetered nervously on her toes, looking like she hadn’t eaten a proper meal in months, but her thin fingers were continuously pulling up her too-small top, pulling her buttonless jacket closed. Many girls like the ones I’d seen passing through the pubs of Laverrene might’ve intended it to be that way, but the way her clever turquoise eyes darted around made me purse my lips in disgust. On this journey alone, I’d seen too much of the lewdness of men. Far too much.
I feel the subtlest way to describe intimate body parts like this is to describe how it affects the clothes they wear, their posture and the objects/people they are around. I’ve also seen that humour is somehow a good way to defuse this sense of lewdness, so yeah.
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: How should I go about introducing character as a long forgotten friend? I am having the main protagonist find their imaginary friend that they had previously forgotten. How would I make some
I am having the main protagonist find their imaginary friend that they had previously forgotten. How would I make some flashbacks without making the plot too confusing or having it sound choppy and forced? How would I go about this in such a way that the reader will understand what's going on, without boring them. What point of view should the flashbacks be in?
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: How should I write two huge evil reveals in one climax? I am only plotting my story as of right now, and I'm trying to put together a good climax. So far, A's parents were murdered by C.
I am only plotting my story as of right now, and I'm trying to put together a good climax. So far, A's parents were murdered by C. A is best friends with B, who actually works for C. Evil reveal #1 : B is finally admits to A that she's a traitor. Then C goes through with her evil plan, but it fails. Evil reveal #2 : B says she never cared for either side of the "war" and tries to kill A and C before fleeing the scene. Is that all too much? I might save the reveal #2 for the second book or something. Thanks in advance!
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: Re: Not wanting to "spoil" a story due to lack of skill I have a story that is dear to me and that I would very much want to write about. However, I don't have lots of experience in writing
This answer joins Mary: ‘Write it’.
Perhaps, some inspiration from another writer -- Robert Graves -- might help.
I am including a transcript of an interview, and although Graves speaks of how he writes poetry, it is entirely possible to apply his process of writing to anything.
Note that he refers to writing and rewriting as something simply inherent in the nature of things. For him, a poem (the final literary work) has already been written - it exists before he starts. He is not writing it. He has to get “back to the original†that is there.
Here are his words:
Graves: ...a cloud descends on you, you do not know what's happening; then you suddenly realise that there is something, some problem of extreme importance that's got to be solved, then you realise there is a poem around, and then, suddenly, two words or three words come to your mind and that gives a start, and then you write the poem, and it's as though the poem has already been written, and you are trying to reconstitute it; you have got the poem as something already there; you have got to get back to the original, your original view of it, and so you work hard and hard to get it back to something near what it really is, was, would be...
Interviewer: Could it be compared to a mystical experience?
Graves: Of course, it is mystical…
Interviewer: Do you feel that you have succeeded at times in doing this, in getting this thing out?
Graves: When you find the poem, and you can’t do anything more to it, then you put it away.
Interviewer: But you keep on revising it?
Graves: It is easy to cheat yourself, and very often you think that you have written the poem that is alright and then after time you realise that in some slight way you have cheated…
So, what you want to write is "already there". Start, and words will “come to your mindâ€! (And then correct where you will discover that you have “cheatedâ€...)
The full interview is here.
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: Traditional publishing with already copyrigthed content If I establish worldbuilding elements on a blog or service like World Anvil, will I still be able to use those elements in book and get
If I establish worldbuilding elements on a blog or service like World Anvil, will I still be able to use those elements in book and get traditionaly published? Technically I should have full rights to it, according to DMCA. But would I have difficulties selling those rights (for example: names used in book) to publisher? Is it safe?
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: Re: How to convey (screaming) hysterics in dialogue It happens to most if not all of us. Something extremely emotional happens to us and we're just hysterical. Logic doesn't work. You contemplate
In my opinion, italics work much better than ALL CAPS. They allow for more descriptive words after the dialogue as well. For example:
"Get away from me!" He yelled, his broad voice deafening.
As opposed to:
"GET AWAY FROM ME!" He yelled.
Using CAPS just seems a bit childish in my opinion.
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: Should I save some plot for the sequel of my novel or make the first book (too) long but complete? I wrote a sci-fi novel. It's around 120k words long with a neat 'ending' that wraps up
I wrote a sci-fi novel. It's around 120k words long with a neat 'ending' that wraps up the main plot. The story is not complete: Although the main goal has been accomplished, a lot of smaller issues have not been resolved. I had planned to include them in the second book. However, I'm wondering if this could cause a lack of closure among readers. If I write my story longer, it'll be above the average word count for sci-fi, but the story would be complete. The story overall would also end up shorter since everything that would have gone to the next book would be pressed into the first one, leaving out less significant parts.
What do you guys think? Limit the story to one book and make it really long, or write two books of which the first has unresolved issues and unanswered mysteries?
Thank you in advance :)
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: Resume sentence fragment conundrum I am updating my resume and need help making this sentence grammatically correct. Is it ok as is? It is for a bullet point list of job duties on a resume.
I am updating my resume and need help making this sentence grammatically correct. Is it ok as is? It is for a bullet point list of job duties on a resume.
“Review, prioritize and respond to executive's correspondence; determine when executive action is required.â€
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: Re: Are tables of contents mandatory in novels? I've had several people ask me why my fiction story does not have a table of contents. I never really thought about it, seeing as plenty of fiction
Although I do not feel it is required to use a Table of Contents, I will suggest that it has been helpful for me in structuring. Also, I love that if I am working on my manuscript and I think of something that I want to go back to, I can go to my TOC and click on a page number and find the area I'm concerned with very quickly. So, even if you consider using a TOC just for your manuscript to use it as a helpful tool for your own purposes, it could be deleted afterwards before going to print.
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: How to Categorize Novel Set in 1930s where people got married at 11+ years I am writing fiction novel with historical event as backdrop. During 1930s British India people got married at 11+
I am writing fiction novel with historical event as backdrop.
During 1930s British India people got married at 11+ years old and had full adult responsibilities.
My story is a memoir of a fictional lady born in 1930s to an 11-year old girl. She and her Mother go through ups and downs in life.
Is this a "Young Adult" novel?
Please advise.
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: Using "her/him" twice in a sentence I'm an English learner, and I had a question about writing "her" twice in one sentence. For example, what would sound better for formal writing? (This is
I'm an English learner, and I had a question about writing "her" twice in one sentence. For example, what would sound better for formal writing? (This is not an actual sentence that I'm using.)
This part of the book highlights her kindness and confidence in herself.
or
This part of the book highlights her kindness and her confidence in herself.
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: Real Places in My Work I am going to write a book about myself. I will be working on this for a while of course and it most likely will not be published physically. But I want to say
I am going to write a book about myself. I will be working on this for a while of course and it most likely will not be published physically. But I want to say the name of my Middle School/High School. I want to know if I can do that. I actually went so I think it is but I would like a proffesional opinion first.
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: How much "throat-clearing," or introduction and exposition, is acceptable to introduce a narrator? I am writing Historical Fiction Novel. A Reporter is interviewing a Centenarian who narrates the
I am writing Historical Fiction Novel.
A Reporter is interviewing a Centenarian who narrates the story.
The Centenarian's hobby is closely related the novel.
The throat-clearing also introduces two Characters who are tied to the story, even though they appear much later in the Novel.
How much throat-clearing is allowed? I got it down to 120 words.
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: Will including maps at the end of my novel keep readers engaged? I am writing a fictional historical novel. The setting is in another part of the world, nearly 100 years ago. I would wish
I am writing a fictional historical novel. The setting is in another part of the world, nearly 100 years ago. I would wish to make the novel understandable to my fellow Westerner.
Understanding geography is the CRUX of this fictional novel.
What is the best way to include some maps at the end of the book so it:
gives readers a reference?
keeps readers engaged?
helps readers relate to the characters, who after all are also human?
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: How Can I Keep My Novel Writing a Secret? What is the best way of keeping your novel writing a secret, without making people concerned that you are a loner? Because writing requires you to
What is the best way of keeping your novel writing a secret, without making people concerned that you are a loner? Because writing requires you to have solitude and to be mindful (I actually imaging scenes in my head before writing), how can I do this?
Also, if you tell someone you are writing, it may jinx the whole project, and cause you to abandon your project (especially if you are writing for the first time).
Any guidelines would be much appreciated.
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: How to use Foreign Words and Provide Translation in Novel I am writing novel where the main character has small conversations in non-English language. This would really pull the reader into the
I am writing novel where the main character has small conversations in non-English language. This would really pull the reader into the environment.
When and how often to provide translation.
So far, I italicize foreign word and put translation in parentheses. And I have glossary at end of novel.
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: Word Count Historical Fiction for Adults I am writing Historical Fiction for Adults. What is the acceptable word limit. Some places say 80K to 100K Others say 150K If it matters, I plan to
I am writing Historical Fiction for Adults.
What is the acceptable word limit.
Some places say 80K to 100K
Others say 150K
If it matters, I plan to submit to publishers who accept manuscript WITHOUT agent.
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: Re: Are competitions worth it in order to get published? I have recently finished my 25,000 word novella and contacted some publishers and agents about a month ago. I have only heard back from
I have recently finished my 25,000 word novella and contacted some publishers and agents about a month ago. I have only heard back from a couple rejecting me but considering the format of my book as well as the fact that it is highly experimental and does not fall into any specific genre, I do not find it highly probable to get published as it is despite its quality.
If you are in contact with those agents/publishers, I'd advise trying to get feedback on why they rejected your book, instead of assuming that it's due it being "highly experimental despite its quality". Maybe you're overlooking something.
Anyway, you can always finish a longer book. But it's also a good moment to hone your editing skill, getting beta readers, and understand what your target audience should be. Maybe one of the problem of your book is that you didn't "pitch" it well enough.
If all of those options don't work out and you find that there is no more editing to be done on your 25000 words novel, joining competitions is surely better than leaving it in a folder.
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: Re: How can I have a character introduce themselves as humble without making them seem arrogant? Two people are dating, and one of them wants to tell the other they are humble, which they genuinely
A humble person tones down his/hers achievements. You can show this in your writing by painting a sharp contrast between what that person does and how he/she tells about it.
In the tipical dating situation, this could come out in a number of ways...
Alice: "So, what do you do for a living?"
Bob: "Ah, nothing much. Office work."
But you're already estabilished previously that Bob is a brillant manager of a company he helped create, if not the CEO.
Better still, his modesty can be called out by other characters. As dolphin_of_france states in his answer, a character is humble when other characters say so.
Alice: "So, that's about how my work day is as a pediatric surgeon. What do you do for a living?"
Bob: "Ah, nothing much."
Alice: "Which means ...?"
Bob: "I'm a manager at BigTechCorp. It's a sweet spot, but over all it's just office work, day in, day out."
Alice: "Wait, isn't BigTechCorp that famous technology multinational? You must be pretty good to work in there."
Bob: "Uh, I guess so. I mean, it's nothing compared to what you do. I don't save lives!" chuckled Bob.
A last example, this time drawn in from experience. It was evening and I was walking with my girlfriend of the time, just going back home on foot. We walk near a roundabout when we see a foodcourier, driving a scooter, slipping on the wet road. The guy looses control of the scooter and falls down. My first instinct was to jump on the roundabout, blocking traffic with my hands, to check if he was ok (luckily he was going slow, so he wasn't injured).
Later on my then girlfriend complimented on my bravery. I shrugged it off. "I just did what felt natural" I said.
Humble people, in theory, have a similar way of shrugging their good deeds.
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: Re: How to write strategy and schemes beyond my real-life capabilities? I am interested in how to write compelling schemes, large-scale strategies and tactics etc. There are lots of fictional stories
The author doesn't need to have the same tactical genius of those characters, because the writer has a serious advantage.
As an author, you know everything and you can change everything of your story. You almost have omniscience and omnipotence over your fictional world. I say almost since you won't know every detail immediately - especially if you are a discovery writer - but surely you know more than the characters involved.
You don't need insight, since you don't need to make any "prediction" on future events. What you need is to portray your characters as insightful, intelligent, innovative or sly. And that's just a matter of portrayal!
How do you portray a character as brave? You make him face his/hers fear. You make him/her confront danger.
Showing tactical mastery might be slightly less straightforward, but it can be done still. You have to keep in mind that the characters, unlike you, don't know everything about the world and are working with limited resources.
Let's say the heroine Alice, tactical genius in a medieval setting, has to lead her ragtag rebel army against the Evil Dark Tyrantâ„¢ Bob. You already decided that Alice has to win the battle for plot reasons, but of course, she doesn't know that. And her victory has to be believable and portray how much a good strategist she is - she can't just pull fresh troops out of nowhere, erase the enemy army with make-believe magic, or anything like that.
So, how can she win? To her, winning the battle must be like solving a puzzle - maybe crossworld one. Ask yourself: what does Alice know ....
About the enemy's generals?
About the enemy's information network? What do they know? What do they believe? Are there blind spots in their knowledge?
About the enemy's army? Composition, average size, location, morale? Possible weakpoints? Possible points of strenght?
Who will lead the enemy's army? Bob himself or someone else? How did he fare in other battles? Is there any peculiar / recurrent trick or strategy he uses? Does he rely much on something?
About the battleground? Can she pick a battleground of her choice? Is she forced to lay siege?
About her own generals, her own armies and strenght? Her own supply line?
Alice must try to answer those questions in order to plan. Some of those will be difficult, if not impossible, to answer. As the leading general, she must have a network of spies/messangers/scouts tasked with providing her with useful informations. Some will be reliable, some will be misleading. She has to listen and make assumptions in order to formulate her plan.
If you show this, you will show how versed she is in dealing with strategy. Quoting Sun Tzu's Art of War:
Every battle is won before it's ever fought.
and so, a great deal of tactics happen way before the actual battle (or war).
When she's finished gathering information, Alice's goal should be maximizing her gains while minimizing her losses. That usually means winning with the fewer cost in terms of lives/resources lost, (of course it all depends on what Alice wants. Maybe she's not so protective of her men).
In order to do so, she might...
..leverage one of her strenghts against the enemy,
..make use of the enemy weaknesses or blindspots,
..trick the enemy into doing something - falling into a trap or in a predicted behaviour
We could make countless examples of what are good tactical moves. For example, if the enemy is known for relying on a strong cavalry, the number one priority could be negate his cavalry. Alice could choose to fight upon a hill, in a marsh, build trenches, deploy pikemen, and so on.
Like a chess game. You both need powerful and less powerful pieces, but what you need most is the ability to outthink and outmaneuver your adversary. This means that you can see "farther" that he does - meaning you can predict a greater number of moves into the future. A simple example of that, often show is movies, is the Feigned Retreat: you make your army run away from the front line, in order to make the enemy think you are fleeing. If the enemy falls into the trap and pursues, there is a good chance that its soldiers will break formation, becoming more vulnerable to your retaliation.
There's surely a lot to consider, and it might be a lot to take in. I do recommend some books on military tactics - I have already mentioned Sun Tzu, but others may be found.
Now, if you want to have multiple strategists in your novel (as, for example, in game of thrones) things will get a little more complicated. Now it's not only Alice and Bob playing chess, but it's 10 playes on a very odd, 10-sided, four dimensional chessboard. Yet the basic rules are the same - tacticians will try to get information, predict what their enemies will do, and try to outsmart them.
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: Fiction copyright, mythologies and interpretations of ancient texts? So, I understand that ancient mythologies and their characters such as Zeus etc are part of the public domain. However, what
So, I understand that ancient mythologies and their characters such as Zeus etc are part of the public domain. However, what happens to individual interpretations of ancient texts?
For example, a sacred tablet that has been translated from another language and interpreted in many different ways. Would these characters still be public domain and fair use? More importantly, would there be any copyright infringement issues on the plot itself if I were to write a book, screenplay etc?
Non-fiction writers have published and copyrighted books with their translations and interpretations of these texts (in recent years) and I'd like to avoid drama. Having said that, many books by various authors each discuss the exact same thing, so I don't see why I can't?
In short, if I were to write fiction with the same characters, same names, similar plot, but with my own twist, sub-plots, descriptions and in my own words would I have a problem? Could I have a bibliography at the end of a fiction book citing these established materials and would that help?
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: Re: Why are one-word titles so dominant in books, film, and games? Something I talk about with friends when planning and sharing our projects & media we like is titles - and specifically my
I think it's about aspiration, about claim-staking, and about self-importance — and, in some cases, ultimately about denying the competition.
The number of one-word titles is far smaller than the number of multiple-word titles; and for a given subject, there are only a few relevant single-word titles. So there's a certain cachet about using one of them. (If nothing else, it denies them to anyone else.)
Also, using an opaque name is tacitly assuming that people will learn what it means, that the work is worthy and important enough for people to become aware of it without the benefit of a descriptive title. (It may not be, of course; but the confidence and even chutzpah of choosing such a title may help its popularity nonetheless.)
You can see this in, for example, titles of Microsoft software. While competitors were coming up with original, distinctive, and memorable names such as ‘WordStar’, ‘WordPerfect’, ‘WordWise’, ‘1st Word Plus’, ‘EasyWriter’, ‘LocoScript’, and ‘MultiMate’, Microsoft went with the blandest, commonest, most abstract name they could: ‘Word’ — implicitly claiming that because it was from Microsoft, that alone would be enough to ensure its popularity without needing a memorable name too. (An arrogance which seems to have been justified…)
It not only denied that exact name to competitors, but probably many related ones too. It meant that anyone merely mentioning the subject of word processors was also inadvertently using their product name — perhaps a form of subliminal advertising. And another effect was to force people to use the company name to disambiguate — ‘Microsoft Word’, thus publicising that too.
So there would seem to be many benefits to using a short, generic name, some of which are more about denying the competition than about helping the intended audience.
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: How to link paragraphs in essays and articles? All I can find online is cohesion and coherence for paragraphs. But in a essay how can I link all the paragraphs. Any good methods for the university
All I can find online is cohesion and coherence for paragraphs. But in a essay how can I link all the paragraphs. Any good methods for the university level.
It would be great if I can find an annotated example essay for understanding this.
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: Re: Is the website allpoetry.com beneficial for poets and writers? I've found this website and could see huge number of poets and poetesses in it. Does anybody know about it? I would like to know
Callie here. I appreciate your feedback that I had never thought about. I'm a member of All Poetry. I have been all three levels, free, silver, and gold. I usually get silver. Free you can publish your poetry to the site and hopefully someone will comment. The new poems are posted both on your page and in a place that every new poem is posted. If you are silver or gold you can skip making comments on two new poems but I hope most are like me and take the opportunity. The silver let's you add one picture to your poem (or collage). Gold lets you add as many pictures as you wish and to choose your font. As far as getting more comments by pay. I have not found that. AP has free poetry classes and I must admit I get more learning out of those than the comments of others. There are lots of groups to join to bring like minded poets together. The more you comment on the more comments you get. You can also "trade comments". It is exiting to "meet people from all over the world" and you do become closer as you share.
It's time for my therapy soon so I must go, but I hope this helps from a member's point of view! Carolyn Caudle Castle
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: Double lies as sources of conflict in a single arc My protagonist lives with a deep lie that causes internal conflict and pain throughout the story but it basically cannot fuel any struggle
My protagonist lives with a deep lie that causes internal conflict and pain throughout the story but it basically cannot fuel any struggle to the external plot. This subconsciously motivates the character to leave a safe home and is somewhat prevalent later on.
I also introduced a flaw to the same protagonist (that is more like a wound but also can be seen as second lie) that causes external things to fail and makes things harder. They are both connected (they developed from the same event).
The flaw is overcome at the end of the second act, while the lie is overcome in the climax. Both the deep unconscious lie and the conscious flaw contribute to defeating the antagonist; the protagonist cannot accomplish that without learning both truths.
Can that double lie in one arc work? Or it is just too convoluted and confusing to the reader? I want that deep lie to convey the true theme—"moral imperative"—but it won't make protagonist fail in action. While the second flaw contributes to more direct tension perfectly, it's too weak to be the true core of the book.
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: Simplistic word editor suggestions needed I am looking for a minimalistic word editor for my creative writing. Basically I would like something like the “notes†app on OSX just with the option
I am looking for a minimalistic word editor for my creative writing. Basically I would like something like the “notes†app on OSX just with the option to save your writing as a separate file. Does anyone know of something like that?
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: Re: Would it be better to write a trilogy over a much longer series? I'm planning out a long series (more than five books as is). It's very optimistic, I know. But I'm just wondering: Would
I feel like publishers would regard trilogies as a safer bet than a long-winded series.
But then again, publishers regard works from well-known authors as a safer bet, too. To paraphrase Brandon Sanderson (as talking of his latest series, The Stormlight Archives), once you start getting fame (and some sales below your belt) you will have more leeway, since your publisher will be more confident that you'll sell (or even, deliver).
As an unknown author, selling a 4+ series will be somewhat a difficult predicament, especially if those books are not self-contained. Selling a trilogy is already difficult (some readers will even look at the first entry of a new trilogy with distrust). Also, since your publisher doesn't know you, he doesn't know if you can pull it off.
Writing one good (publishable) book is hard enough, but delivering more than four? Without dropping the pace or the quality of your work?
Of course it can be done, but there will be plenty of reasons to be skeptic.
So, your best bet is to plan and sell your books as single, self-contained stories, with growing potential.
Let's imagine that you have already the first book written down.
Ideally, you don't want it to be just a "setting-up" book for later entries: it has to have its own story arc, its own character struggles, and its own resolution.
Once you have polished it enough, you could go to a publisher and say
"Hey, look at this. It's great for X reasons and you should totally fund it. Also I've already a sequel planned up if it goes well".
This is already more reasonable, from a publisher point of view.
You could try the same reasoning trilogy-wise:
"Hey, I've got this trilogy and it's great. You know, if it sells I've left space for more..."
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: Re: Pronouns when writing from the point of view of a robot For the writing challenge, I'm currently writing from the point of view of a robot. Also another robot is frequently addressed. However
I had a similar problem with a story I was writing. Since the story was set in the future, and since language evolves, in the end I decided to invent my own pronouns: 'xe' (pronounced 'zee', instead of 'he' or 'she' for gender neutral robots. The 'X', as opposed to 'Z', because it felt more futuristic! Similarly 'xis', for 'his' or 'her', etc. At the same time though I tried to minimise the use of these words, so the reader wouldn't have to keep stumbling over them. I did want to avoid gender-specific terms, and all of the potential stereotyping that comes with that, as well as remind the reader that the characters existed in a different, future time.
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: Re: Pronouns when writing from the point of view of a robot For the writing challenge, I'm currently writing from the point of view of a robot. Also another robot is frequently addressed. However
'They' is a valid alternative, as are zir and eir(and mx, if I remember correctly), all of which are gender-neutral pronouns. If you only have two or three main robot characters and want to refer to them all with gender-neutral pronouns you could just use a different set for each character, though you may have to be careful to establish whose pronouns belong to who so it doesn't get confusing for readers.
It's also possible to have a scene or paragraph where a robot considers their options, and the concept of 'gender', whatever that is, and decides that they will use a particular set of pronouns for whatever reason - they like a human who uses that set of pronouns, it seems to convey more benefits than another, it is easier to say. Or they genuinely don't care and that one's as good as any and someone referred to them by those pronouns and whatever, they can call them whatever they want as long as they don't call them a hunk of junk.
There's also the judicious and possible over-use of names, but that can get tedious.
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: Re: Would this character be classified as an antivillain, antihero, or something else entirely? From an analysis standpoint, I'm trying to determine what classification the antagonist and protagonist
Congratulations! Seems that you have a story with a vary conflicting, gray scale of morals. That's usually a good sign.
Coming to your question,
I'd say your hero is an anti-hero,
or rather a revenge-driven hero. You mention him having a strong sense of justice, yet he has no problem on killing (so using any mean to an end) and it seems driven mostly by personal revenge (something that rarely goes along with justice, in a law-abiding sense). As you mentioned, the protagonist never stopped considering if the scientist plan was good, misguided or bad. He just cared for revenge. He can be charismatic as Edmond Dantès, but it has some markings of the anti-hero.
As for your villain,
we could label him as a Well-intentioned Extremist [TvTropes link]
I understand your confusion, since I'm not sure if we should call him a full-fledged villain or an anti-villain. He surely has a lot of anti-villainesque traits, like pursuing a goal that he perceives as "good for humanity at large" and his distaste for violence and murder. Yet of course human experimentation is bad per-se, and we can't judge the morality of his actions with hind-sight (ergo, it's still bad to mass experiment on humanity even if the results turn out to improve everyone's life).
So, they are both in a moral grey area, and both dangling over the "dark" side of a white-black spectrum.
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