@Twilah982
Last seen: Mon 17 May, 2021
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: Why do all of my lyrics have 3/4 feeling I write song lyrics for fun and I always add simple music so the song can be performed. About 40% of my songs are in 3/4 (6/8) signature which is
I write song lyrics for fun and I always add simple music so the song can be performed.
About 40% of my songs are in 3/4 (6/8) signature which is kind of unusual in the big picture.
It's just that lyrics coming to me already feel 3/4 and I'm unable to force them to be 4/4.
I feel like I'm getting kind of boring with 3/4.
Obviously I can create 4/4 song since more than half of my songs are 4/4 and none of them were/feel forced.
I don't feel like 4/4 songs use different words or stuffing words or weird pauses. Writing in different language makes no difference.
Is there a writing concept/trick for good sounding 4/4 lyrics or for 3/4 to 4/4 conversion or should I ask music theory to fix my feeling?
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: Re: How to write natural-sounding dialogue? Writing dialogue for my novel has proved to be more of a challenge than I anticipated. It all seems clunky and unnatural. Any tips for writing natural
When it comes to dialogue, always remember, it is a way to characterize your characters. That is, part of what the reader understands about the nature of your character's comes from their dialogue (i.e., we infer traits about them through what they say and how they say it). That being said, how do you want your characters to be perceived by the reader? Are the characters highly educated? If so, then maybe craft their dialogue to be more academic and stringent when it comes to prescribed grammar rules. Are your characters from a specific subculture (e.g., South Boston vs. Up-state New York)? If so, then craft the structure of their dialogue to reflect how someone from that subculture might speak? As long as your dialogue conveys the same traits to the reader that you believe it conveys, then the dialogue is doing it's job (as far as the characterization part of it is concerned).
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: Re: What makes a book young adult I am a young author writing my first series . I’m not writing my books simply because I want to or that I am frustrated with other books, but those are some
The marketing, and the age of the main character
Picking some popular YA books, many don't sound very family-friendly
Hunger Games -> Children are forced to fight to the death to entertain the ruling elite.
Twilight -> Teenager + a several hundred-year-old vampire run away from her family and elope.
The Hate U Give -> Teenager witnesses a police shooting.
L8R,G8R -> Told via instant messages between high school kids. High school students chat about drugs and hook-up culture.
It wouldn't be hard to keep listing more. What do they all have in common? Storywise, the main character is high-school age.
I’m wondering if I am being too violent
Are 24 kids fighting to the death? That's a best-seller! YA books are probably more violent than books for adults. Which book has more characters die Silence of the Lambs or The Hunger Games? Pretty sure Hunger Games wins.
EDIT response to comments
So extreme fantasy violence wouldn’t make a book be considered young adult?
Not on its own. Lord Of the Rings isn't YA, but is full of fantasy violence. There is a fallen angel who tortures people for fun with his posse of undead minions scouring the land looking for his ring. He wants to conquer the world and every other kingdom in Middle Earth has to band together and they barely survive.
LotR, of course, has inspired countless YA fantasy novels. So what's different? The characters are seen and treated as children by the other people in the novel. Why do we treat children and teenagers differently in the real world? Because both physically and mentally they aren't done developing, thus there are laws and customs written around protecting them from themselves, which they usually don't like.
You can write a story where the teenagers act just like adults - it won't be very good because you're not true to your characters. Do you treat adults and children the same?
Would you write 3 adult alcoholics sharing a bottle of vodka the same way as 3 teenagers sharing it?
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: Re: Can I publish a book set in the Harry Potter universe? I know similar questions have been asked. But also, consider that I want to publish a book in countries other than the US or UK.
It depends on how lax copyright laws and enforcement are in your country.
A number of unofficial Harry Potter novels have appeared in non-English-speaking countries, to cash in on the craze. Some of these may be parodies.
Here's a list, some of the titles are pretty off the wall.
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: Re: Can there be too many obstacles in a character’s path? My current WIP involves a deliberate miscarriage of justice. I started out with three main characters: J - a young girl who is effected
I can only say for myself, but I think that a character is only overloaded with problems of the new problem doesn’t significantly add to the issue.
If you can cut a problem and not much changes - cut it.
However, there are ways to add weight to problems in order to keep them: such as keeping an emotional toll. If your character starts as a "normal" person, at least emotionally, getting shot and having to run from the police would have a serious strain on his mental fortitude.
Another way to increase the amount of problems in a story is to solve some before adding others. The Martian is a great example of this. The author Andy Weir said that he wrote the book by “throwing everything he could at his main characterâ€.
But in my opinion, all that goes out the window if your problems aren’t logical. Reading your plot points, I got lost when you introduced the shrink and SWAT invasion. Unless they make sense in context, I’d suggest cutting them.
The "shrink wanting to run an experiment" doesn’t seem to fit the rest of the plot.
The "SWAT invasion" seems random and forced. For SWAT to get a false call for a hostage situation, just while he’s in the pub...
And then it goes down from there. A vigilante...
If you make sure all the problems fit the situation logically, it won’t seem overfilled. Whereas if they don’t make sense of why they happened, then even a few problems won’t fit right.
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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
Isn’t that what pseudonyms are essentially for?
Otherwise write it as a fiction novel.
But if you really want your real name to be attached to a true story... well, who would bother prosecuting you? You think that law enforcement officers have nothing better to do than comb through memoirs to find evidence of illegal activities?
....
Of course if your book becomes a bestseller, a young prosecutor may want to try to go after you to hitch on the celebrity bandwagon, or if your crime is very serious and would involve a homicide investigation or the FBI interest, then no don’t write it, or at least get it published posthumously...
But chances are nobody would care anyways.
EDIT
In your situation since the crime seems serious better not write it...
Anyways who reads autobiographies?
Not to be negative, but if you are not in a very unique situation, or a unique person like a Geisha, or lived something truly extraordinary, or famous already...
I can’t see more than a few dozen people, if that, ever reading it if you publish it online.
If the writing itself is cathartic, or would help you figure things out, then write it for yourself and don’t publish it, or do a vanity publication
I think it is better if you took some of those elements that shaped you and integrated them in purely fictional works like most authors do.
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: Re: A blog on sexual abuse and harrassment So I'm planning to start a blog where I write about sexual abuse, sexual harrassment and also domestic violence. Pretty heavy stuff right? That's why I'm
I for one, like most people I believe, almost never read personal blogs. If you want your experience to be read, instead of just writing for catharsis, a novel is one of the few options. There are two main axes you can explore: the victim's or the revenge fantasies's.
Victim
That's the most straightforward, relate your story. The difficulty is to make us care enough for the character to be touched by what happens. It may also be hard to translate the event into a novel plot structure and length and particularly to be original.
Revenge
Use that rage to create an avenger character. For instance, something like Dexter with a pink skirt and garden shears, especially if you can bring in dark humor. Or darker, staying with your idea of a child murderer, maybe the abuse left her a sociopath and now she trolls web sites and isolated locations acting as a honey pot to Lure and kill abusers, peds...
Inspiration
Sadly for you, and for the state of the world, similar stories are very abundant and need quite an original approach to interest the reader. However, many authors have used the depth of their trauma as a source of inspiration. Even when the author's characters don't specifically mention it, that gravitas of life experience makes them more real, more complex, deeper.
“Taking the kernel of that experience and turning it into fiction was
a way of coming to terms with what had happened to me.†– Barbara
Boswell, author of Grace
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: Re: Can I write a book of my D&D game? I am a long time Dungeon Master of Dungeons and Dragons and Pathfinder. My games run in a custom world of my own making. However, I utilise a lot of
As others have noted, you have to avoid names. You can't use their world or some specific monsters (no illithids!). Other monsters, like gnolls and orcs, predate D&D and thus are fair game (so to speak).
I think the rise of LitRPG shows that plenty of people want to read about game-like worlds, at least as long as you put an interesting twist on it. In my my own series (Sword of the Bright Lady, published by Pyr) experience points are tangible objects, like coins that you can collect and trade. This change lets me write about a fantasy world that is like the ones we play in rather than like the ones that usually get described in stories. My characters talk about being a fourth level wizard and my high ranking warriors can jump off of cliffs without dying. Yet it's not a parody or a game; it's a serious epic (albeit with plenty of humor, as to be expected when a Earth-borne mechanical engineer encounters magic for the first time).
The real problem with writing your game as a novel is that the plot that makes for an exciting game rarely makes for an exciting story, and vice versa. In a game, the players derive satisfaction from their own actions; but in a story, the action of the characters exist to satisfy the reader. One notable exception: The TV show The Expanse is derived from an RPG run by its two authors (there are a couple of places in the books where this is obvious). But clearly they've cut and trimmed the campaign to meet their dramatic needs.
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: Re: How do I present a future free of gender stereotypes without being jarring or overpowering the narrative? My story takes place in a relatively near future setting where gender stereotypes have
Short answer: You cannot.
Human fundamentals never change. If you desire to narrate a story where against all odds certain Things about humanity have changed - dramatically - you ought to recognize that your story is actually about Those Things, and keep them in focus.
Even if you try to play it down and make it seem like it's not a big deal, at some point the difference between our-humanity-as-it-is and your-humanity-as-you-write-it will become too great to ignore, and some fundamental assumption that either you or the reader have made will snap the dissonance to the forefront. Think of it like a Big Lipped Alligator Moment but for imaginatively altered human behavior. But, you can avoid this situation in two ways:
If you never sweep the dissonance under the rug, no one will ever be surprised by it
An explicitly transhumanist setting is a powerful reason to modify humanity in all sorts of interesting ways
I understand you might want to avoid shoving things in the reader's face, but remember that you're imagining a world where the basic building blocks of millions of years of sexuated life have been dismantled. That is not something you can really avoid placing front and center, and to do so would actually benefit your core message.
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: Re: What weight should be given to writers groups critiques? I joined a writers group that meets every three weeks. I submitted the first eighteen pages of my work and also sent the same file
The first thing you need to realise is that the advice from AuthorHouse needs to be taken with a very large grain of salt - they are a vanity press which expect you to pay to have your book published, unlike the more traditional publishing houses. Therefore it is in their benefit for you to stick with them, regardless of the quality of your book.
Not everyone at a writers group will be helpful - some authors can be very invested in what they consider the right way to do things, which can make them much more critical than an average reader. However, if multiple people are mentioning similar issues it's probably worth trying to improve it, and overuse of certain words can be very jarring even to a casual reader. Fundamentally you want to write fiction that people will want to read, so people's responses to your writing are important.
If even a minority of readers genuinely can't tell who's speaking a particular line of dialogue then that's a big problem.
This can be fixed without adding too many identifiers, by carefully considering whether a character would actually say the dialogue you've written. Each character should be coming into a scene with their own aims, mood and personality, and these things should show up in their speech. It's possible your characters are too uniform in their opinions, that there isn't conflict or disagreement between them, or that they all seem to socialise and communicate in the same way. Be particularly careful about this in exposition scenes; it's possible to be so focused on what needs saying in a scene that you essentially come up with the dialogue then distribute it across the character in the room.
Even if you end up adding loads of identifiers they can be more interesting than "x said" and "y said." Combine the dialogue with descriptions of body language and facial expressions to indirectly attach a character name to a line. For example:
Joseph stopped typing and stared over at Alice. "You can't seriously
be suggesting what I think you are."
If the writers group isn't helping you write then don't feel you have to keep going - it's meant to be for your benefit. However your writing is not perfect, and probably never will be, so be wary of people telling you it is, and make sure you're not dismissing critiques out of hand.
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: Re: Do I really need to have a scientific explanation for my premise? So, in my post-apocalyptic novel, the world was caught up in an international war (basically WWIII), and all the world's nuclear
As a general rule, if there is any portion of your premise that you do not want your audience to concern itself with, you need only avoid bringing it up.
This is especially true for fantasy and soft-sci-fi. We never got explanations for light sabers, the TARDIS, dilithium (handwavium) crystals, or infinity stones either; and that very restraint has benefited the respective series that they belong to. So no, you do not have to explain it; just take care not to also question it.
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: Library of Congress filing: answering "intended for children or young adults" I'm going to submit a request for a Library of Congress Preassigned Control Number (PCN). One of the questions on
I'm going to submit a request for a Library of Congress Preassigned Control Number (PCN). One of the questions on the form is:
Is this title intended for children or young adults?
Because of the "or", I assume the book doesn't have to be appropriate for both children and young adults.
My answer would be obvious if the field were phrased as "acceptable for" or "intended primarily for". Unfortunately, I'm unsure whether "intended for" means the title is:
for members of this audience and other audiences
only for members of this audience
(To illustrate usage #1 , consider the sentence, "Is exercise intended for children or young adults?" It is; to say "Exercise is not intended for children or young adults" would be false.)
I wrote the novel for general audiences and never even considered the possibility of YA readers. But one of my beta readers, who teaches middle-school English, assumed it was intended for YA readers of roughly 14+.
So if #1 is the right interpretation, I think that applies to my book. But if it's #2 , the answer is absolutely "no" since I didn't write it primarily with young adults in mind.
To be clear: I'm not asking about the meaning of the word "intend", or for interpretations of the form by laypeople like me.
I'm hoping that someone with working knowledge can tell me the best answer for this entry field—based on the way that librarians, teachers, or others actually use this information. If you have working knowledge, please mention that in your answer for added weight. Thanks!
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: Any details/advice on how to write on a tiny notebook/notepad in your hand while standing up? Ideas keep popping into my head while I walk, so I have a tiny memo book to jot down my thoughts.
Ideas keep popping into my head while I walk, so I have a tiny memo book to jot down my thoughts. However, there's no room for my writing hand to use all the available space, I write really messily with my writing hand in the air and the pencil tip as the only point of contact, and my supporting hand keeps moving around and getting pushed back. Any tips and advice?
EDIT: Sorry, I should have mentioned this way earlier; I don't own a smartphone and am looking for an analog solution! I also prefer writing by hand; for some reason, it helps me think more creatively.
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: Re: How to "ensure" that the hyperbole's exaggeration can be filtered by the reader? Second most common (like if I'd count it) thing I hear is: "[agitated screeching] hyperboles are bad [agitated
It really helps if there's someone else who reacts to the statement the way the audience should. Other than that, you've got the other two down well: sounds idiotic and exaggerates the information in question.
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: Re: How can I make dialog sound like that of a six year old? I'm a contemporary romance author writing a romance Christmas book. The hero in my story has a six year old girl. There are lots
My best advice: spend some time with six-year-olds and see how they talk. Go to an elementary school and listen to them. If that's not possible, watch vlogs or family videos.
From my experience, they meander through their thought process, they stutter, they use run-ons, they mention unnecessary details, and they get distracted easily. Their speech is halting because they're searching for words but really want to talk, but they're old enough to be self-aware and consider a few outcomes of what they say and do.
In terms of behavior, they have favorites and focus on their favorite things, mentioning everything about them. They'll never deny a free gift out of propriety or modesty. They're proud of their accomplishments. They especially care about rules and the bottom line, and they'll strongly tell you when you're wrong or out of line.
I very much disagree with a child being shallow. They see and know more than they let on, and they'll make conclusions based on what they see, especially on what someone really cares about as opposed to what they say they care about. They can sniff out phonies after an extended period of time, and they'll tell you what they heard when they're contradicted since they care about rules.
This might help: www.pbs.org/parents/childdevelopmenttracker/six/index.html
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: Tool to detect adverbs Are there any simple efficient tools or programs that will help me in editing by detecting and/or marking adverbs? This is mostly to get rid of word bloat.
Are there any simple efficient tools or programs that will help me in editing by detecting and/or marking adverbs? This is mostly to get rid of word bloat.
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: Re: Can lack of motivation be used as character motivation? I'm working on a story, it has a character that just finished High School and isn't sure what to do now and then ends up in on an
Maybe the character has a special take on all the things that he/she could do. Those unique takes result in his/her general demotivation.
Different things he/she could do present themselves e.g what friends and cohorts are doing: An internship in one of those trendy establishments (boring, corporate slavery), volunteering (instagram fodder), getting married (woah, please). Also, the character might actually be in the middle of particular activities, but may show no sincere interest in doing those well, or may not be particularly invested in the final outcome.
These attitudes towards potential pursuits can display the lack of motivation. Then, when the right adventure comes across, the contrast in his/her feelings towards it and the shift in emotions from dull cynicism to genuine wonder, restlessness and drive can display the newfound purpose with great impact.
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: More chapters requested. Is this a good sign? I sent out the first four chapters to about six different publishers. Within three days I received a no from one. On the ninth day, I got a
I sent out the first four chapters to about six different publishers. Within three days I received a no from one. On the ninth day, I got a request for additional chapters from another publisher. Is that a good sign? They didn't ask from the entire manuscript which concerned me but the first chapters had to spark an interest if they asked for more right? I'm so nervous!
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: Re: How do I get rid of my excess ideas? Over the past year, I have written down a number of ideas for novels. I have attempted to focus on a sole idea, and tried to write my novel based
Procrastinate.
Yes. Do all the same but skip the deleting part. Move on to other ideas but save the work you did on the previous idea you worked. You then will have it available and you can go back to it when you feel like doing so in the future.
Your brain will take you back there. That is the point of creative procrastination. Your mind will keep working on it on the background and you will eventually come up with fresh ideas to come back to and keep working at it.
It's not magic, it's just your brain working. It will not solve everything creative and won't do the whole work but it certainly will help you get one step closer to finish some great creative writing.
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: How do I create a good naming system for the magic system in my Fantasy novel? So there is a magic system in my novel, and I'm struggling to give each power its own name. Each power is
So there is a magic system in my novel, and I'm struggling to give each power its own name.
Each power is paired with another, and the names must sound similar, only with a twist.
Criteria for a good naming system: Names should be confined to real words (but the meanings can be twisted), or very nearly real words, all being relatively uncommon (preferably with double meanings). What I'd really likeis for each word of a particular magic power should have a name similar to its pair, but distorted in some way.
For example: Locksmiths might perform Locking and Blocking.
Some examples of pairs of powers:
The act of creating a portal, which either increases the distance, or decreases it, and the act of creating a barrier. (Currently called Locksmiths, Locking and Blocking)
The act of transmuting materials, and the act of changing the shape of materials, provided that it is all made of roughly the same material. (Currently called Reformancers, Defining and Refining)
The act of changing your sight so you see physical objects as they are, without needing light (eliminates glare and shadows), and the act of changing your sight so you can see a person's inner qualities.
The act of turning into an animal, and the act of making one's body take on characteristics of certain materials.
How do I go about coming up with all these names?
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: How can I describe technology while avoiding problems with scaling? Worldbuilding chat has pointed me to this stack because it's less about defining the technology and more about how to express
Worldbuilding chat has pointed me to this stack because it's less about defining the technology and more about how to express these definitions in a relatable and realistic way.
A pretty frequent occurrence when working with fictional technology is that when describing what the tech does and how it works, the author messes up the scale of the underlying technology or what it is capable of. This can happen in multiple ways (all examples are purely fictional):
The author describes near future technology with ludicrous numbers, which actually are on the other end of the power bell curve. the author may, in 2001 describe a computer in the 2050s whose power is actually closer to something from the 2020s. The opposite also happens: the components from the machine actually are much stronger than what's possible at the time.
The author describes a machine that actually is woefully underpowered for what it is said to be capable of. For example, blowing up a meteor the size of Texas with a nuke buried 800 feet deep.
The author describes a machine that actually has much more energy than needed for the job. They mention "a 1 Kt bomb, big enough to destroy the empire State building", but such a bomb would actually take out everything 5 blocks around the empire state building as well.
The author has a concept that's scaled well at the time it's introduced to the story, but when used later on, it either scales poorly or not at all. An example would be a martial artist taking of weighted clothing as a powerup, but he keeps doing it even when he's not even hindered by the clothes anymore.
Note: I'm talking about purely numerical issues with scaling, not the technology itself becoming outdated because new tech is invented. I'm not talking about "cassete recorders in space", I'm talking about "A spaceship to the moon with the power of a bottle rocket".
Assuming you already have your technology worked out concerning what it has to do, how do you go about describing the tech to a reader without pulling potentially knowledgeable readers out of the story when your numbers don't add up?
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: Re: Expressing large numbers in dialogue? For example the scene takes place in the future and the year is 24,356. Would it be written as: "The year is 24356," said Bob OR "The year is
i feel that in a dialogue nobody will say "The year is 24356," maybe they will say "it's 56", "we are in 56"
also such a large number for readers that are not used to it, makes almost no sense, it is just a random number, that's why most writers use something like "year 1405, new galatic era"
But if you want to emphasise the distance from the present, use "24th millenium", or "24th millenium, 400th century", "24.4 millenium", and then later the more precise "24356" or better for accentuating the date, "August 9, 24356"
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: Re: Impact of views about author on buying book As a reader, I have found that when I disagree with an author's views or actions, this has influenced me not to buy their books. As an author,
A published book should be a totally independent entity from its creator.
However, as humans we can have a hard time to separate the authors’ views from his produced works.
For books where the author expresses his personal views, then yes a book could be judged in concert with the author stance.
For example Marion Zimmer Bradley, is a militant gay pagan feminist. That view is expressed in most of her books. If you are offended by her personal, sexual, political, or religious views, I can understand not reading her on that basis.
Lauren Ipsum: "I won't buy or read anything more from Orson Scott Card now that I know about his raging homophobia."
Orson Scott Card on the other hand, whatever his personal views, I don’t recall them being in his books.
What changed before and after, knowing some private thing about him, was his book altered, why should your perception of the author affect the books worth?
Also, for Americans of his generation "raging homophobia" was the norm, and still is in most of traditional America. Europe isn't that different, look at how Alan Turing was treated, for the crime ofbeing gay, by England.
Banning his books on that basis would be to say that since all European classic authors were raging anti-Semites, which was the normal accepted view at the time, all the literature before 1950’s should be banned. A variant is that all early American books should be censured as their authors accepted slavery as a matter of fact. There are countless variations; Greek classics should be banned because the authors liked to sodomize teenagers.
That position is obviously absurd. Now saying banning books that directly portray strong anti-Semite ideas like Dickens’s Oliver Twist, yes, I believe that people, children at least, should not be exposed to that filth.
I can see some people giving a pass to the classics because that was in the past…and that modern authors alone are concerned, because “they should know betterâ€. I think that’s non-sense.
After WW2 many authors found their books banned or censured because they were "Nazi sympathizers"…I find that hypocritical, in the early days most of Europe, including the British, and the western world in general, had strong anti-Semitic views, and were all Nazi sympathizers to some degree.
Take Leni Riefenstahl, her earily beautiful work had nothing to do with Nazi ideas, but she was an official party cinematographer and shot the Olympics which were used for Nazi propaganda. We wastedl one of the strongest visual artist of the 20 century because she was ostracized, marginalized, black-booked because of the association, and ended up shooting minor things in Africa.
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: Re: Writing technique resources Are there resources (books, blogs...) which describe proven techniques to obtain certain effects? For example: you will obtain this effect if you use the first person,
At first this seemed a superficial Q, but when you think about it, why not?
In many arts, like painting, there are clear technical manuals. This is in no way limited to “craftsâ€. Obviously the artist interprets and applies the method, or goes against it, in his own personal way. Why should writing be different?
There should be
“proven techniques to obtain certain effects?â€
Unfortunately, Adrien Hingert, I am not aware that any such site exists.
You might find some answers by combing through S.E. Writers for Q like:
The “Rules†of Writing
Books to improve writing skills
What are good reads about writing?
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: No, I know of several fantasy authors who not only use citations without the philosopher's name, but attribute the quotes to a fictional author who is part of their world.
No, I know of several fantasy authors who not only use citations without the philosopher's name, but attribute the quotes to a fictional author who is part of their world.
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: Re: How to avoid repetitive sentence structure? I've realized that I always start sentences with (name of character), he, she, it, they, her, his, the, after (a moment/that), and then. I wonder
Try gong deeper in the pov:
1rst person:
Where was everyone? Had they all gone to a safe place that nobody told me about? I stared at my hands. Did anything in this world really belong to me? No, nothing did everything had turned to dust. Boyfriends and friends they possessed and accompanied me but nothing substantial. I sat down, and looked back at the moon, left alone, waiting for the moon to fall from the sky.
Third person close:
Where was everyone? Had they all gone to a safe place that nobody told me about? Adele stared at her hands. Did anything in this world really belong to me? No, nothing did everything had turned to dust. Boyfriends and friends they possessed and accompanied her but nothing substantial. She sat down, and looked back at the moon, left alone, waiting for the moon to fall from the sky.
Please do this in your own style this is just an example to try and help. It takes time study sentence structure and flow both can help keep a writer mindful of staying away from anything that makes the words choppy. Your writing is beautiful.
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: Re: How do you believably write a moron? I've heard a lot of people ask how to properly depict intelligence in a written work, but I'd like to go in the opposite direction. I want to know how
By being one.
Putting yourself in someone else's shoes and thinking like them is an integral part of writing fiction.
It is essential that the character comes to life. If you can’t identify with a simpleton, err sorry, learning disabled, differently-abled person; don’t bother to write one, or a novel for that matter.
I shouldn’t have to tell you this, but just on top of my head use decision making based on your childhood, and adult moments when you where drunk, sick, or half-asleep.
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: Re: Voices of young children, how to write? I am currently writing a narrative featuring many young children. Some of the children are under the age of five, and I'm wondering what the best way
i find this type of writing very quickly irritating. If you ask the reader do do an extra effort understanding what you write, you break the narrative flow. Use phonetic writing mininimaly, and only if you have to.
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: Where to publish essays about a life stories for personal development? I had a few experiences of things which I learned from some amazing people in my life. I would like to share some of
I had a few experiences of things which I learned from some amazing people in my life. I would like to share some of these stories. The basic theme of these essays would be to follow your ambitions and to find balance in your life. I think that they are motivational stories for personal development.
Can anyone tell me where I could publish these essays? The specific names of journals/magazines/websites would be appreciated.
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: Re: How Much Descriptive Information Is Enough For a Locale In A Screenplay? First out, my question pertains strictly to screenplays. Secondly, it deals with a spec script. Now, there seems to be
The Director, Cameraman and Location Manager will all participate in finding what's available and works. Writers should describe in impression, like an Impressionist painter. Overly specific location descriptions are without much meaning and mark you as an amateur. Why tell them about the window frames when you can't know what city the show will shoot in?
EXT. SCARY HOUSE - NIGHT
Perfect for a Horror Movie, the dark, musty, long-abandoned home was almost as threatening as the WORSENING STORM. Sheila ran to her car when suddenly,...
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