Hi!
Anybody here still remember me? đ„ș
Hi!
Anybody here still remember me? đ„ș
1. NOVELS!
If you want to write fiction, youâve got to read fiction. A whole freaking lot of it.
Start by reading any and every short story and novel you can get your hands on. Donât worry about taking notes or thinking too much into the stories. Just read. Chances are, youâve already done a lot of it. All writers come to writing through reading first.
Spend as much time as you can spare browsing new book stores, used book stores, and ebook stores. Free ebooks are a great resource that cost very little and theyâre all over the place. There are a lot of great free titles out there, especially some of the classics that are in the public domain.
2. Notebooks
Carry notebooks with you as often as you can. I like the solid dependability of a large Moleskine Classic, but buy whatever kind of notebook pleases youâŠ
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There are plenty of folks happy to tell you how to write better, just as any doctor will tell you to âeat right and exercise.â But changing your writing (or eating) habits only happens when you understand why you do what you do. I can help you with that.
That proposal or email you wrote must now compete for attention with Facebook and the Huffington Post. Hereâs how to compete more effectively, and why youâre not doing it already.
1 Write shorter.
Why it matters. Readers are impatient and will give up on your blog post, email, or document before youâve made your point. Every extra word makes readers antsy.
Why you write long. Itâs far easier to type than to edit. So people just keep adding things.
How to fix it. Edit. Delete your âwarming upâ text and start with the main point. Cull extraneous detail and repetition. WorkâŠ
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Defining Indirect Characterization
Indirect characterization is the process by which the writer shows the characterâs personality through speech, actions and appearance. When you watch a movie or television show, you can usually gather what type of person the main character is based on the characterâs actions and reactions in different situations. There isnât a label on the screen that necessarily says âangelic, gullible teenâ or âselfish, arrogant villain.â Instead, you have to watch and listen to that person to notice how the characterâs personality is revealed through the story. By doing so, you are seeing how indirect characterization is being used on the screen. This also occurs in many novels and short stories. Instead of watching the character, you imagine the character in your head as you read descriptions of the actions and dialogue.
Indirect vs Direct Characterizations
Indirect characterization should not be confused with direct characterization, which is whenâŠ
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Second Person Point of View
Telling a story using you is called second person point of view. Using this viewpoint, you control all of the information and give the reader whatever you want.
Example: âYou open your eyes and the sun is already high in the sky. Youâve slept away the whole morning. You roll over on the hot sand, scrambling to your knees. The events of last night come rushing back to youâŠâ
Very little fiction is written in second person with the exception of âchoose your own adventureâ types of books, or books about psychosis. But it is a popular style for a lot of non-fiction self-help books, and tourism ads.
It often has a jarring effect in fiction and is the least popular viewpoint. Your reader picks up a book to escape into another character for awhile and using âyouâ destroys this illusion. And it justâŠ
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What Causes Writerâs Block
Writerâs block is often caused by conflicted feelings. We want the writing to be perfect and we want the paper done as soon as possible. We know what we know but we donât know what our readers know. We know how the memo should sound, but we donât have all the facts we need. We know everything about the software, but we donât know what an article should look like. We know what we have to say but we are afraid that it wonât measure up to our expectations or to our readersâ expectations.
All of these feelings are natural and normal. Everyone finds writing a challenge. Many writers, however, compound their problems by employing weak writing strategies. When these methods fail, they give up.
Weak Strategies for Dealing with Writerâs Block
Using trial and error
Since our short-term memory is limited, trying to juggle inâŠ
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How do you write good back blurb?
This is a list of what featured most often from a number of bestselling thrillers reviewed as research from my bookshelf. The principles hold true for any genre although the details change for each.
A hint of the plot. âSecret experiment. Tiny island. Big mistake.â (Scott Sigler, Ancestor); âmust fight their way past traps, labyrinths and a host of deadly enemiesâ.
Use of words that evoke images and resonate with readers of the genre. Examples, âancient monasteryâ (Raymond Khoury, The Sign), âhidden esoteric wisdom, Masonic secretsâ (Dan Brown, The Lost Symbol), âthe secret behind Noahâs Arkâ (Boyd Morrison, The Ark), âDruidic pagan crossâ (James Rollins, The Doomsday Key); âA buried Egyptian temple. A secret kept for 6000 years. A race for life worth killing for.â (Andy McDermott, The Pyramid of Doom)
Main characters are named and characterized. âTV news reporter Gracie Logan. MattâŠ
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I bet if you hung around on a random street corner and asked ten different passers-by how to get to the airport, theyâd all give you different answers.
Okay, maybe if youâre lucky, theyâd suggest similar routes. But theyâd all use different words to say it. Even the, âUh, donât know,â answers would likely come out differently.
âIâm sorry, I really couldnât say.â
âNo friggin idea.â
âGet a map, man.â
How does each of your characters talk? The answer will depend on:
-Geographic background (a Texan doesnât speak the same as a Bostonian)
-Educational level
-Age (Like, is your character, like, a total teenager?)
-Personality (Is your character nervous, impulsive, aggressive, flirtatious, shy?)
-Your characterâs relationship with the person sheâs speaking with. She wouldnât talk to her boss the same way she speaks to a friend or to her five-year-old son.
-Your characterâs attitude to the conversation topic. Does itâŠ
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Dos and donâts for writing dialogue
Dos:
Pay attention to each characterâs different speaking style.
Edit dialogue to trim off most of the fat. A lot of what people say is just blah-blah-blah, but you donât want to bore your reader.
Show how the character speaks instead of telling it. If the character speaks angrily, you can make this come through in her words â itâs therefore often not necessary to add an expressive dialogue tag such as, âshe said angrily.â The same if a character is shouting or crying, etc. Keep the readerâs attention on your characterâs speech, not your explanation of it.
Donâts:
Donât get too colorful with the dialogue tags. âHello,â she shouted; âHi there,â he cried; âHow are you?â she queried,â âFine thanks,â he shrilledâ⊠too much of this stuff gets distracting fast. Put your thesaurus away. The basic dialogue verbs âsay,â âtell,â and âask,ââŠ
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