Category Archives: writing tip

Writing tip Wednesday: “Conflict”

On Saturday, February 1, 2014, I took a workshop sponsored by the Knoxville Writers’ Guild (www.knoxvillewritersguild.org) and led by nationally published author Pamela Schoenewaldt (www.PamelaSchoenewaldt.com and on Facebook at https://www.facebook.com/pages/Pamela-Schoenewaldt/158580547517755?ref=tn_tnmn).

Even a friendly game of cards might harbor some conflict.

Even a friendly game of cards might harbor some conflict.

The workshop was on character development. What you have below is the second of the three handout exercises from the workshop. The first one, “Who are you?” was posted last Wednesday. Each handout can be done in ten minutes or less, and oftentimes not pondering too long is best. The first exercise was called “Who are you?” The you refers to the character. This worksheet can be used for the both the protagonist and antagonist of the story or novel you are working on, or just about any character you want to use it on. It might even be helpful if writing a memoir or biography.

CONFLICT WORKSHEET

Answer without worrying about grammar or logic. Emotions can be messy and illogical. The point is that they MATTER.

1. More than anything, my character wants. . .

2. Getting it matters so much because . . .

3. But the problem/obstacle is . . .

4. My character feels (use 4+ adjectives)

5. Giving up would mean . . .

6. To “win” the character must overcome . . .

7. Who will help and how?

8. Name 3 possible LOCATIONS where this conflict will play out. What OBJECTS will be important?

9. The outcome/ resolution will change the character. Now s/he will . . .

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Sting tells TED audience of the only way he could overcome writer’s block – The Globe and Mail

Sting tells TED audience of the only way he could overcome writer’s block – The Globe and Mail.

Sample:

Sting is a prolific songwriter, author of a decades-long career first with the Police and then on his own, filled with pop-chart toppers, platinum records and music industry trophies to show for it.

Then came the drought.

Sting explained at the TED Conference in Vancouver how he fought his way back to his art after a prolonged period of creative darkness, when the songs stopped coming. Hint: it took him back to his hometown, and ends where the neon lights are bright.

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4 Things Science Fiction Needs to Bring Back | Cracked.com

4 Things Science Fiction Needs to Bring Back | Cracked.com.

Sample:
It’s tempting to look around at today’s literary scene, with its Twilight and its Fifty Shades of Grey, and wonder if we shouldn’t just flush the whole goddamn concept of written language down the toilet — maybe start again with some sort of hybrid colorwheel/odor system for communicating thoughts. Strangely, the one genre thriving in the swamp of modern literature seems to be science fiction. It’s kind of appropriate, actually: All of our crazy high technology has made publishing and distributing books about crazy high technology much more approachable and widespread than ever. But even the best works could stand to learn a little something from the past, so here are a few things that I miss about old science fiction, and would like to see come back.

Read more: http://www.cracked.com/blog/4-things-science-fiction-needs-to-bring-back/#ixzz2whMw9XfP

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Writing tip Wednesday: “Who are you?”

On Saturday, February 1, 2014, I took a workshop sponsored by the Knoxville Writers’ Guild (www.knoxvillewritersguild.org) and led by nationally published author Pamela Schoenewaldt (www.PamelaSchoenewaldt.com and on Facebook at https://www.facebook.com/pages/Pamela-Schoenewaldt/158580547517755?ref=tn_tnmn).

The workshop was on character development. What you have below is one of the three handout exercises from the workshop. I will be posting the others over time. Each handout can be done in ten minutes or less, and oftentimes not pondering too long is best. The first exercise is called “Who are you?” The you refers to the character. This worksheet can be used for the both the protagonist and antagonist of the story or novel you are working on, or just about any character you want to use it on. It might even be helpful if writing a memoir or biography.

WHO ARE YOU?

Your name is . . .

Your age is . . .

I can see that you are . . . (location)

And you’re looking at . . .

And you’re feeling . . . .

Your great strength is . . . .

Your fear or weakness is . . . .

It’s too bad that . . . .

You’d really laugh if . . . .

Most people don’t know that you . . .

Very soon you must . . . .

The challenge will be . . . .

You will get strength from . . . .

Looking in your eyes, I know that . . .

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Writing tip Wednesday: “Artist”

What it takes to be the best.

What it takes to be the best.

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Writing tip Wednesday: “Editing”

WHEN TO SAY WHEN: HOW MUCH EDITING IS ENOUGH?

by BRUCE HALE

http://www.brucehalewritingtips.com/

One of the most common questions I hear from writing students is “How do I know when to stop editing and revising my story?” Or in other words, “when do I say when?”

I ran into this same problem when making ahi stir-fry yesterday. I seared the fish awhile, then made a guess and tossed in the vegetables. (Wolfgang Puck I’m not.)

I wondered how long to let the whole mess fry. Would I overcook the fish or undercook the veggies? Finally, a gut feeling said, “Whoops, the fish might be too well-done.” Turned out that feeling was right.

With a meal, it’s too late (unless you’ve got a hungry dog handy). Overcooked isn’t curable. But with a story, provided you’ve saved your earlier drafts, over-edited isn’t irreversible.

So when do you stop cooking your story?

I believe this decision comes from a gut feeling – a blend of experience and intuition.

ONE AND DONE?
Kids do one draft and believe they’re done. But experience has taught us adult writers the importance of rewriting. Of course, the danger is that we can tend to over-think, over-edit, and try to make our story perfect.

Big news: Your story doesn’t need to be perfect. In fact it will never be perfect, because story writing isn’t like math. There isn’t one absolute, right answer.

In fact, I’d even go so far as to say that attachment to perfection is the enemy of art. In trying to get it “perfect”, we inhibit ourselves from freely expressing, and we can kill what’s alive in our
work.

So when you edit, don’t aim for “perfect.” Shoot for “as good as I can make it right now.” Your gut will guide you.

If you’re feeling too close to the story, have a trusted writing partner read it and comment. Then, if you’re still not sure, ask yourself some questions:

— Have I solicited feedback from readers I trust?

— Have I incorporated suggested changes that felt right to me?

— Am I afraid of the response this story will receive, and am I just delaying sending it out?

— Is this story as good as I can make it right now?

If you answered “yes” to all those questions, you’ve got your answer.

Enough is enough. Trust your gut. Send that manuscript out before you overcook it. (After all, Rover won’t eat an overdone story.)

___________

Bruce Hale

Bruce Hale

About Bruce…
Bruce Hale began his career as a writer while living in Tokyo, and continued it when he moved to Hawaii in 1983. Before entering the world of children’s books, he worked as a magazine editor, surveyor, corporate lackey, gardener, actor, and deejay.

Bruce has written and illustrated over 25 books for kids. His Underwhere series includes Prince of Underwhere and Pirates of Underwhere. His Chet Gecko Mysteries series includes: The Chameleon Wore Chartreuse, The Big Nap, The Malted Falcon, Hiss Me Deadly, and others. More at http://www.brucehale.com/

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Writing tip Wednesday: “To Indie or not to Indie publish”

Most Amazon bestselling authors aren’t making minimum wage

By Charlie Jane Anders

Yesterday we posted a chart from Hugh Howey’s new report on author earnings, showing indie and self-published authors pulling ahead of people published by the “big five” in terms of total unit sales. Now here’s another chart from an e-book publishing expert who’s calling some of Howey’s conclusions into question.

Chart:

E-book sales. Source: Hugh Howey

E-book sales. Source: Hugh Howey

Writing in Digital Book World, Dana Beth Weinberg points out that there are a number of questions about Howey’s data, even beyond the potential flaws that you’d already noticed. For one thing, Howey isn’t representing all self-published and indie authors — just the top 1.5 percent, or the cream of the crop. There are also some questionable assumptions in Howey’s methodology, writes Weinberg, and some statistical problems.

But leaving that stuff aside, even if you accept Howey’s data and his conclusions, it’s not clear that most of his indie/self-published authors are doing better than people published by the big mainstream publishers, argues Weinberg. What is clear, though, is that the people who are doing best, on Amazon e-book sales, are those published by Amazon’s own publishing imprints.

The really depressing thing? Weinberg estimates that most of the authors in the survey, whether self-published or published by a New York publishing house, are not making minimum wage:

Sales figures:

A different look at e-book sales.

A different look at e-book sales.

Full article at: http://io9.com/most-amazon-bestselling-authors-arent-making-minimum-w-1522482723

Source material at:
The Report, by Hugh Howey, Feb. 12, 2014
Full article at: http://authorearnings.com/the-report/

The Principal of Digital Abundance — thoughts on author earnings, by Damien G. Walter, Feb. 12, 2014
Full article at: http://damiengwalter.com/2014/02/12/the-principle-of-digital-abundance-thoughts-on-author-earnings/

Note: This post suggested by Research Assistant Ashlie

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Writing tip Wednesday: “The End”

Dos and Don’ts for the Last 10,000 Words of Your Story

By James V. Smith Jr.

DON’T INTRODUCE ANY NEW CHARACTERS OR SUBPLOTS.
Don’t introduce anything new. Any appearances within the last fifty pages should have been foreshadowed earlier, even if mysteriously. What this means: If you bring in a new character this late, your audience will feel cheated, as if you’ve been holding back important information for a cheap surprise. They want clues throughout the novel so that way, even if they couldn’t solve it early, they can look back and say “Oh yeah, now that makes sense.”

DON’T DESCRIBE, MUSE, EXPLAIN, OR PHILOSOPHIZE.
In other words, keep the author out of the story, and don’t let it drag. By this point in the story, setup is done, complication is wrapping up, and resolution should be entirely uncluttered so you and the reader can make an unimpeded dash to the finish line. Keep description to a minimum, action and conflict to the max.

What this means: No long details about the setting or sudden dishing about backstory. This is what your story is all about. Your protagonist has sacrificed and made wrong turns to get to this moment. Make these pages as face-paced as possible.

DO CREATE THAT SENSE OF OH, WOW!
Once or twice on every page, if possible, more frequently.

What this means: Stories that play out “Then this happened. Then this happened. Then this happened.” in the final moments aren’t memorable. It’s better to put in an “But unexpectedly …” as the final chapters close up your story, especially if it ties up moments you’ve foreshadowed earlier in your novel.

DO ENMESH YOUR READER DEEPLY IN THE OUTCOME OF YOUR STORY.
Make her unable to put down your novel to go to bed, to work, or even to the bathroom until she sees how it turns out.

What this means: Like in sports, the most captivating part is the final minutes or innings of a close game. You can’t take your eyes off of it because you not only want to know the outcome, you feel like you need to know the outcome—and you need to know it immediately. Think of your ending in those terms.

To learn more, go to: http://www.writersdigest.com/how-to-improve-your-writing-skills-the-last-10000-words?et_mid=656501&rid=239626420

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Never Put Two Spaces After A Period – Business Insider

Never Put Two Spaces After A Period – Business Insider.

Can I let you in on a secret? Typing two spaces after a period is totally, completely, utterly, and inarguably wrong.

And yet people who use two spaces are everywhere, their ugly error crossing every social boundary of class, education, and taste.

You’d expect, for instance, that anyone savvy enough to read Slate would know the proper rules of typing, but you’d be wrong; every third e-mail I get from readers includes the two-space error. (In editing letters for “Dear Farhad,” my occasional tech-advice column, I’ve removed enough extra spaces to fill my forthcoming volume of melancholy epic poetry, The Emptiness Within.)

The public relations profession is similarly ignorant; I’ve received press releases and correspondence from the biggest companies in the world that are riddled with extra spaces. Some of my best friends are irredeemable two spacers, too, and even my wife has been known to use an unnecessary extra space every now and then (though she points out that she does so only when writing to other two-spacers, just to make them happy).

What galls me about two-spacers isn’t just their numbers. It’s their certainty that they’re right. Over Thanksgiving dinner last year, I asked people what they considered to be the “correct” number of spaces between sentences. The diners included doctors, computer programmers, and other highly accomplished professionals.

Everyone—everyone!—said it was proper to use two spaces. Some people admitted to slipping sometimes and using a single space—but when writing something formal, they were always careful to use two. Others explained they mostly used a single space but felt guilty for violating the two-space “rule.” Still others said they used two spaces all the time, and they were thrilled to be so proper.

Read more: http://www.slate.com/articles/technology/technology/2011/01/space_invaders.2.html#ixzz2sjI4n4vN

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Cobbling Together Concepts and Loglines

Cobbling Together Concepts and Loglines.

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