Tag: fiction
Urban Perfection
Be Thou Funny; Nay, Hilarious!
[found on thewritepractice.com; by Joe Bunting]
Joe Bunting’s Commandments to Writing Funny”
“1. Thou Shalt Not Worry About Offending
First and most important, if you’re overly concerned about what others will think, don’t try your hand at funny . . . . stay true to your voice and integrity.
2. Thou Shalt Pay Attention to the Mundane
Jerry Seinfield wasn’t funny because he could do impersonations, or was overly animated or creative. He was funny because he told the truth about the mundane….
3. Thou Shalt Take Clichés to Extremes
…when there was report after report about the Occupy Movement marching on streets all over the nation, I wrote Occupy Marches on Sesame Street—twentysomething angst taking on the puppets who lied to them first.
Taking cliches to the extreme is the bedrock to satire.
4. Thou Shalt Use Metaphors and Similes Like the Bubonic Plague
(First, see Commandments 1 and 3.) Metaphors and similes are to funny as Hugh Grant is to romantic comedy.”
To read the entire article by Joe Bunting, click here.
[found on http://thewritepractice.com/four-commandments-to-writing-funny/]
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Research How-To…and Why
[found on copyblogger.com; by RYAN HOLIDAY]
“I’m going to talk about research. No, research is not very fun, and it’s never glamorous, but it matters. A lot.
If you want to be able to make compelling case for something — whether it’s in a book, on a blog, or in a multi-million dollar VC pitch — you need stories that frame your arguments, rich anecdotes to compliment tangible examples, and impressive data so you can empirically crush counter arguments.
But good research doesn’t just magically appear. Stories, anecdotes and data have to be found before you can use them.
You have to hunt them down like a shark, chasing the scent of blood across the vast ocean of information. The bad news is that this is an unenviable task … but the good news is that it’s not impossible.
It’s not even that hard … once you learn what you’re doing — and I’m going to teach you those skills.
By the time I was 21, my research had been used by #1 New York Times Bestselling authors like Robert Greene, Tim Ferriss, and Tucker Max. Was I a slave to study? Did I have to become a library hermit to accomplish this? No, I did it all in my spare time–on the side, with just a few hours of work a week.
Here’s how I did it …
Step 1: Prepare long before gameday [sic]
…This is the mark you must aim for as a researcher, to not only have enough material — and to know where the rest of what you haven’t read will be located — on hand to do your work….
Step 2: Learn to search (Google) like a pro
…How do you find a needle in haystack? Get rid of the extra hay….
Step 3: Go down the rabbit hole (embrace serendipity)
…One of my rules as a reader is to read one book mentioned in or cited in every book that I read. It not only solves the problem of ‘what to read next’ but it sends you on a journey down the rabbit hole….
Step 4: When in doubt, turn to the classics
…The Classics are “classic” for a reason. They’ve survived the test of time….
Step 5: Keep a commonplace book
…a book of quotes, sentences, metaphors and miscellany that he could use at a moment’s notice….”
To read the entire article from RYAN HOLIDAY, click here.
[found on http://www.copyblogger.com/content-marketing-research/]
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Get Your Mind Out of Your Way
[found on writetodone.com; by Ollin Morales of Courage 2 Create]
“What if I told you that the biggest threat to your writing is not your lack of passion, your lack of creativity, or your lack of skill?
What if I told you that the biggest threat to your writing is… your mind?
That’s right. Your mind is the biggest obstacle standing between you and all the work you are trying to accomplish.
Our mind is often the one that needs the most convincing that our writing is worthwhile. This is because our mind is hard-wired to protect us from any possible danger. You see, in order to protect us, our mind initially perceives anything it encounters as a threat—including your writing.
If this sounds strange, and kind of primitive, as if your mind is trying to protect you from a tiger hiding behind a tree in a jungle—then you’re absolutely right.
Your mind is still pretty primordial. So, your job as a writer is to hack into this primordial, hunter-gatherer mind, and update its software so that your mind works for you.
Here are just 4 ways to hack your mind so that you can become infinitely more creative:
1. Bypass Your Mind
…Get rid of all the thinking. Wipe your mind clean. Take a deep breath, and just go for it….
2. Trick Your Mind
…promise your mind that you will continue to worry about paying your bills AFTER you write a brief outline of that freelance article you’re working on….
3. Lower Your Mind’s Expectations
…If your mind sees that you’re making a big bet, then, it will immediately advise you against it—it may even try to thwart you from accomplishing the monumental task you’ve set up for yourself….
So, don’t make that big bet. Make a small one, instead.
4. Recalibrate Your Mind
…the return on your initial investment does not appear until much much later. This is something your mind has trouble understanding, and it’s your job to help your mind understand it….hack into your mind so that your mind works for you.”
To read the entire article from Ollin Morales at writetodone.com, click here.
[found on http://writetodone.com/4-ways-to-hack-into-your-mind-and-become-infinitely-more-creative/]
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Featured Writing Addict: Mary Ross Smith
Mary Ross Smith
Mary was born in Shreveport, Louisiana, the youngest of five children. Her family moved to Los Angeles, California in 1947. Both parents were entrepreneurs. Her mother was the founder of a prominent African-American mortuary in Los Angeles, and her father owned a service station. She grew up in Los Angeles and spent most of her young years in the funeral home where she learned the details and secrets of that business. Her young life was very troubled and sometimes threatened thus causing her to seek refuge among the dead. Mary’s two books use humor and drama to reveal mortuary life.
What’s Mary’s Genre?
Nonfiction & Fiction/Romance
What’s Mary’s Inspiration?
“I wrote Soul Survivor to heal me, but soon found out that everyone has a story. My goal is to inspire others to know that life is about choices; they can make a change in their life, no matter how bad things are today. Something good can happen tomorrow. Never give up!“
What are Mary Ross Smith’s books about?
Soul Survivor
Amazon.com Book Description:
“…explores the depths of human emotions, both real and imagined. That any of us reach adulthood in one piece, emotionally or physically is a miracle of no small proportion. That any of us reach adulthood to contribute back to society and become highly respected in the community is truly a gift of time and place. …a true story of fortitude, an iron will and looking to the future in the hope that tomorrow will be better than today. …nothing less than a story of triumph. “Little Mary” Reese spent her childhood living, working and playing in a funeral home. Her mother, Mrs. Mary (“Big Mary”) Reese, was well known and respected in the African-American community in Los Angeles through the operation of a prestigious black funeral home. Little Mary’s story tells what really happens behind the embalming room doors—the light and dark side of life. [This book] is both humorous and mischievous, and talks of sex, murder, voodoo, preachers and deviate gravediggers. Famous entertainers that passed through Little Mary’s life include Redd Foxx, Lou Rawls, Sam Cooke, Billy Preston and Johnny Cochran. Little Mary was born in 1944 in the South, reared in the Southwest and was often disparagingly referred to as “high-yellow.” During racial tensions of the ‘50s and ‘60s, Little Mary found her hue to be a major issue but not her only problem. Mary’s mother caused her to endure life-threatening situations due to her drinking and wild ways. Little Mary’s childhood experiences, the mental and physical abuse faced each day, led her to believe that her only true friends were the dead people in the funeral home. Indeed, Little Mary received a BS degree (Be Smart) at an early age. It was the only way she knew to survive. Little Mary’s story is an unlikely but revealing peek into the unexpected and in the end, truly a story of a Soul Survivor.”SOS
“Challenge you to look at the person behind the pulpit!“
To reach Mary Ross Smith, buy her books, or schedule a book-signing event:
- Website: www.maryrosssmith.com
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Facebook: facebook.com/mary.r.smith
- Email: maryrosssmith@msn.com
- Twitter: @msmith67877
- LinkedIn: linkedin.com/in/maryrosssmith
- Other: P.O. Box 74484 Phoenix, AZ 85087
- Buy Sites for eBook:
- SOS: Amazon.com; Barnes & Noble;
- Soul Survivor: Amazon.com; Barnes & Noble;
Tell her you heard about her on editingaddict.com!
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Your Plot Needs Planning
[found on fictionfactor.com; by Lee Masterson]
Effectively Outlining Your Plot
“Have you ever had an idea for a novel, and then just sat down and began writing without knowing exactly where the story was going?
It happens to everyone at some point, but most people begin to realize that the events in your plotline get confused, or forgotten in the the [sic] thrill of writing an exciting scene. There are those who continue to write on, regardless, fixing any discrepancies as they work, or (worse!) those who do not check that events are properly tied in place to bring their stories to a satisfying conclusion.
And then there are those writers who believe that creating a plot-outline is tantamount to “destroying the natural creative process”. The belief is simple; by writing it out in rough form, you’ve already told the story, so the creative side of you will not want to write it again.
Whichever type of writer you are, creating a simple, inelegant outline to follow s not the same thing as already writing the story, and it could save you an enormous amount of time and rewriting later.
The purpose of an outline in this case is to be certain that your storyline is not straying too far from the original idea. It is also a useful tool if you need to determine if your idea is big enough to be developed into a novel-length work, and not left as a short story or novella.
Your outline should be a simple reminder that, no matter how many events or characters or situations arise, your main theme will never get lost in the jumble of scenes.
Of course, this brings us to the problem to what was discussed above. There are writers who have a tendency to over-plot, thus really killing any spontaneity as far as the writing process goes. The biggest difficulty here is forcing your characters to go through motions that may not fit into their personality make-up simply to fit into your pre-existing, overly planned plotline.
So how do you strike a fair balance between aimless writing and over-plotting? There are several ways to accomplish this….”
To read the complete article from Lee Masterson, click here.
[found on http://www.fictionfactor.com/articles/outlining.html]
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Die Not, My Adverb—Overwhelm Not
[found on huffingtonpost.com; by Maddie Crum]
In Defense of Adverbs
“Like like and other filler words, certain adverbs have saturated our speech and our writing, making once-meaningful phrases seem totally vapid. The idea that adverbs are just extraneous fluff has led to a smear campaign against them, and it’s become common to suggest axing the part of speech altogether in order to make writing more powerful. This forceful call for more forceful writing is misguided; adverbs can be phonetically pleasing, can imbue sentences with subtlety, and should not be entirely shunned.
First, a refresher: What does an adverb do? It tells us more about a verb. If a character is running from point A to point B, “he ran” is a description that doesn’t sufficiently set the scene. How did he run? Quickly? Scatteredly? “He ran quickly and scatteredly” is less powerful than “he scampered,” an adverbless sentence that conveys the same point more succinctly. And so, many writers have spoken vehemently against the use of adverbs.
This is unfortunate because when used well, adverbs serve an important purpose, and can enhance writing rather than detract from it.”
[found on http://www.huffingtonpost.com/madeleine-crum/in-defense-of-adverbs_b_4860325.html?ncid=fcbklnkushpmg00000063]
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Grand Opening—Or Nothing At All
[found on hatrack.com; by Orson Scott Card]
“If you mess up the opening, nothing you do later in the story will fix it. And because mistakes in the opening will reverberate through the rest of the story, when you finally do fix the opening you usually have to throw out and redo everything that you wrote after it. With rare exceptions, you simply have to get the opening right before you can go on.
But what is the “opening”? The first sentence? Having a good first sentence is nice, but it’s not the opening. By definition, the first sentence is in the first paragraph, and the first paragraph is free. That is, the first paragraph of a story does not have to be in the same voice or mood or tone as the rest of the work. The first paragraph is important for setting the scene, for giving vital information that allows what follows to make sense. But the real opening is after that first paragraph — when the story starts in earnest.”
For more amazing tips on writing from Uncle Orson’s Writing Class, click here.
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