Tag: authors
Define R E A L I T Y
“Good writers define reality; bad ones merely restate it. A good writer turns fact into truth; a bad writer will, more often than not, accomplish the opposite.”
― Edward Albee
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Authors on Authoring
“Never open a book with weather. If it’s only to create atmosphere, and not a character’s reaction to the weather, you don’t want to go on too long. The reader is apt to leaf ahead looking for people. There are exceptions. If you happen to be Barry Lopez, who has more ways than an Eskimo to describe ice and snow in his book Arctic Dreams, you can do all the weather reporting you want.”
“You can never read your own book with the innocent anticipation that comes with that first delicious page of a new book, because you wrote the thing. You’ve been backstage. You’ve seen how the rabbits were smuggled into the hat. Therefore ask a reading friend or two to look at it before you give it to anyone in the publishing business. This friend should not be someone with whom you have a romantic relationship, unless you want to break up.”
“Do it every day. Make a habit of putting your observations into words and gradually this will become instinct. This is the most important rule of all and, naturally, I don’t follow it.”
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Which or That?
[found on writetothepoint.com; by Gary Kinder]
“The difference between “that” and “which” might be the most confounding piece of grammar in the English language, but it doesn’t have to be. Here’s what you need to know: Grammarians call the words following a “that” or a “which” a “relative clause.” That relative clause either “restricts” (I like the word “distinguishes” better, but grammar texts have long called the word “that” “restrictive”) what it modifies, or it “does not restrict” what it modifies. The writer tells us which it is by the word he chooses to introduce the clause.
“That” at the beginning restricts; it means that the writer wants the relative clause to distinguish one thing from a universe of like things. “Which” at the beginning means the writer addresses only one thing, and he simply wants to add information.”
[found on http://writetothepoint.com]
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Want a Great Book?
[found on helpingwritersbecomeauthors.com; by K.M. Weiland]
“Twenty-five ways to write an awesome book:
1. Hook readers with a strong first chapter that doesn’t waste time.
2. Create a sympathetic and/or entertaining character.
3. Give the character a strong goal.
4. Obstruct the character’s goal with equally strong opposition.
5. Create a theme that arises from the character’s inner conflict.
6. Craft a strong plot with proper structure.
7. Do your research and get your facts straight.
8. Expunge unnecessary scenes, settings, and characters.
9. Balance action and character with properly structured scene/sequel pairings.
10. Write realistic, entertaining dialogue.
11. Maintain a consistent POV.
12. Create original and entertaining voices for narrating characters.
13. Tighten descriptions with more strong verbs and nouns and fewer modifiers.
14. Show more than you tell.
15. Dig deep for original ideas and turns of phrase.
16. Properly foreshadow your climax—without giving away any big reveals.
17. Build realistic and engaging settings.
18. Add only meaningful subplots.
19. When you build tension—always fulfill it.
20. Create a dynamic arc of growth for your character.
21. Add interesting minor characters who can power the plot forward.
22. Choose the right tone to enhance your plot and theme.
23. Rock readers with a climax that fulfills all their desires for the story.
24. Don’t tie off all the loose ends in your story’s ending.
25. Proofread, proofread, proofread.”
For more excellent tips from K.M. Weiland, click here.
[found on http://www.helpingwritersbecomeauthors.com/2013/11/top-25-ways-write-awesome-book.html]
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Killing Your Characters
[found on writersrelief.com; by Writers Relief Staff]
“If you’re considering killing off your main character, keep the following tips in mind:
- Be somewhat realistic. It may be hard to swallow if your main character survives what no one should be able to. When a jumbo jet crashes in the desert but your hero, Jack, walks away unscathed thanks to his skill with a nail file and a soda can, you can practically hear your readers groan.
- Plot problems. Don’t kill the protagonist if you are having problems with the storyline and simply don’t know what to do next: The heroine finds herself between an enraged grizzly and a cliff—if you can’t figure out a plausible way to extricate her, this shouldn’t be the only reason to kill her off.
- Beware morality statements. Perhaps your main character’s death is a natural consequence of his fatal flaw. He is a functioning alcoholic and sometimes drinks and drives. Be very careful not to make this into a morality statement by waving it over your readers’ heads: This is what happens to drunk drivers! You want the story to be powerful, not your personal statement on drunk driving.
- Don’t kill the MC off in a trivial or anticlimactic way. In other words, unless it’s tied to the theme or plot in some significant way, Hattie Heroine should not die from an infected paper cut. If we’ve invested in her character, we need some tension building up to her death.
- Avoid resurrections. Please don’t be tempted to miraculously bring a main character back to life unless it’s an integral part of your plot or theme (like a medical thriller centered around a miraculous new drug that reverses death). What? It was actually Hattie Heroine’s twin sister who died of infection? Like an ending where the MC wakes up and realizes everything was just a dream, a miraculous resurrection can be a little cheesy—or an easy out.”
[found on http://writersrelief.com/blog/2013/11/main-characters-how-to-kill-your-protagonist-without-killing-your-fanbase]
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Writer…Arrived
“All good books are alike in that they are truer than if they had really happened and after you are finished reading one you will feel that all that happened to you and afterwards it all belongs to you: the good and the bad, the ecstasy, the remorse and sorrow, the people and the places and how the weather was. If you can get so that you can give that to people, then you are a writer.”
― Ernest Hemingway
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A Good Editor
“A good editor will not just point out errors; she explains them, providing you with an education to enable you to perform a stronger rewrite. For instance, if your manuscript includes point-of-view violations—a major reason for fiction rejection—she will offer a thorough explanation of the concept and provide easy-to-understand examples. A good editor will encourage you and compliment you on your strengths, but she will not hold back in showing you where you need improvement or are making repeated mistakes. She does not expect you to know all the book publishing rules for copyediting—that’s her job. But she does try to help you understand some basic underlying principles that you might need to learn in order to be a better writer. A good editor knows your book is your “baby” and that you have poured many hours into writing it, but her goal is to help you make that book the best it can be, and sometimes that requires you, the author, to make drastic changes. In other words, a good editor is “on your side” and wants to help, but she is mostly concerned with getting your book in the best shape possible.”
— C. S. Lakin / critiquemymanuscript.com
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Writer’s Block Begone
Here are some ideas to fight writer’s block. Tell us if you have any to add!
David Alm on writer’s block:
“Writer’s block is as much a part of being a writer as banging your head against the wall in frustration when publisher’s don’t return your calls. I jest, but seriously — it doesn’t matter how successful you are or what kind of writing you do; if you’re a writer, you’ve been stuck.
Not anymore, if the makers of Write or Die have anything to say about it. The app, now available for $9.99, aims to keep you on task by threatening you with some pretty dire consequences if you stop churning out copy. Set it to “kamikaze” mode, and it will begin deleting words you’ve already written after 45 seconds of no activity.”
—David Alm / Contrary Blog
13 authors views on Writer’s Block from FlavorWire:
- “Suggestions? Put it aside for a few days, or longer, do other things, try not to think about it. Then sit down and read it (printouts are best I find, but that’s just me) as if you’ve never seen it before. Start at the beginning. Scribble on the manuscript as you go if you see anything you want to change. And often, when you get to the end you’ll be both enthusiastic about it and know what the next few words are. And you do it all one word at a time.” – Neil Gaiman
Click to view the other 12.
Strategies for overcoming writer’s block:
“Taking notes
Jot down ideas and phrases as they occur to you. Free yourself from paragraphs and sentences for the moment–use flow charts, arrows, boxes, outlines, even pictures. Right now, you are worried about getting things down before you forget them.
Freewriting/Brainstorming
When you’re not just blocked, when you’re stonewalled, try freewriting. Sit down for ten minutes and write down everything you can think of about your topic. The object is to write without stopping for the whole ten minutes. If you can’t think of anything to say, write “blah, blah, blah” over and over. If other things occur to you as you write, go ahead and record them, even if they are not directly related to your topic. These distractions may be part of what is keeping you blocked.
Freewriting is good for uncovering ideas–it’s a good way to nudge “inspiration.” But the main purpose of freewriting is to get you moving! Most of what you write in those ten minutes will go in the recycling bin, but you’ll be warmed up and your serious writing should go more smoothly.
Brainstorming resembles freewriting but is more goal-directed. You start not only with a topic, say PROFS, but also with a goal: What do new users need to know about this system? Then allow yourself to jot down ideas for a set amount of time without censoring any possibilities and without striving for perfect prose. When the “storm” has passed, you can rearrange ideas, put thoughts into complete sentences, edit, and polish.
Piecework
Sometimes, starting at the beginning induces Perfect Draft Syndrome. It may be easier to get started if you approach the task sideways. If you’ve got a plan for the article or manual, choose a section from the middle or a point you know well and start there. Then do another section. After you’ve gained some confidence, you can work on the opening and smooth out the transitions.
What I Really Mean Is (WIRMI)
When you’re stuck in a quagmire trying to find the perfect phrase, switch to What I Really Mean Is and just say it the way you think it. Once you know what you mean, it is easier to refine the phrasing.
Satisficing (satisfy + suffice)
You “satisfice” when you take the first reasonable solution instead of searching endlessly for just the right word or sentence. If you’re unhappy with the choice, you can bracket it and promise yourself you’ll fix it later.”
—Writer’s Tips from css.illinois.edu
Editing Addict, LLC 