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Writing tip Wednesday: “Comedy writing”

How do you write good comedy? Some of Britain’s finest comedians share their knowledge

By Bruce Dessau

Source: http://www.independent.co.uk/arts-entertainment/comedy/features/how-do-you-write-good-comedy-some-of-britains-finest-comedians-share-their-knowledge-10182878.html

Writing comedy is not easy – which is why next weekend, aspiring comedy writers will be gathering in Llandudno in north Wales for the second annual Craft of Comedy Writing conference.

There, commissioning editors, producers, production company bosses and comedians will be divulging their trade secrets in a range of talks, discussions and networking sessions. It’s a great way to learn more about the industry – although it does cost £60. For a cheaper option, we have asked some the biggest names in comedy for their pithiest writing tips.

(For more information on the Craft of Comedy Writing Conference see www.venuecymru.co.uk)

Andy Hamilton
Sitcom writer
His new series ‘Ballot Monkeys’, a satirical sitcom set around the General Election, starts on C4, Tuesday at 10pm.

  1. Become a ruthless editor of your own stuff. You have to be brutal.
  2. Learn to be concise. Pay attention to the rhythm of a sentence and how a joke unfolds. Just moving an adverb can change it. I’m still learning.
  3. Make sure you invest in a character. Anyone can write jokes. Well, almost anyone. But if you are writing a sitcom it’s the characters that make it interesting. They have to resonate.

Reece Shearsmith
Actor/comedy writer
The latest series of Shearsmith’s ‘Inside No 9’, co-written with Steve Pemberton, is on BBC2 on Thursdays.
I think it’s important when writing, and especially sketches, that you very quickly let the audience in on what it is they are supposed to find funny. What is “the thing of it?” Let them in on the joke as quickly as possible. “Oh – I see, it’s a clown that doesn’t like children.” Or “Oh I get it – it’s a squeamish surgeon”. The quicker you get to that penny-dropping moment, the longer your audience have to enjoy the situation and find it funny. Also, try to be as lean as possible. Come in late, and go out early. More often than not, you can lose half of a scene quite easily and still impart the story. And above all else – hide the exposition! No one wants to sound like they are narrating facts. A neat trick is to hide exposition inside a joke. That way it feels valid, and its presence is disguised by a laugh.

Graham Linehan
Sitcom writer
To borrow an image from David Lynch, you’re looking for the big fish. The tiddlers flashing about just below the surface – the trite observations, the easy targets, the established joke-constructions – you need to ignore them and wait for the big one. An image or scene that makes you double over with laughter and could only have come from deep within your subconscious. The good news is that once you have it, the smaller jokes leading up to and away from the scene/sequence/sight gag will also feel fresh. To give you an example from my own work, Mrs Doyle wondering where the “perfectly square bit of black dirt” on the window came from is a set-up so odd the audience doesn’t even think of it as a set-up, and enjoy it for its own sake. So when Ted appears at the window with a Hitler moustache (and that’s the big fish, that’s what Arthur Mathews and I thought of first), one of the reasons it works is that the audience didn’t realise we were setting them up.

Holly Walsh
Stand-up/TV and radio writer
Walsh has previously written BBC3 sitcom ‘Dead Boss’ with Sharon Horgan, and her new radio series ‘Best Behaviour’ starts on Radio 4 on 7 May at 6.30pm.

My tip for writing comedy would be to find someone to collaborate with. OK, so you’ll share the money, but you’ll also share self-doubt and inner loathing, so it kind of balances out. My favourite days are sitting in a room with someone else and trying to make them laugh. You might then have to go off and work stuff up on your own, but at least you know one person has found it funny. Oh, and move around. You’d be surprised how many problems are solved walking to and from the loo. So drink plenty of tea.

The rest of the article: http://www.independent.co.uk/arts-entertainment/comedy/features/how-do-you-write-good-comedy-some-of-britains-finest-comedians-share-their-knowledge-10182878.html

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Writing tip Wednesday: Grammar Gremlins

Humor and Grammar Gremlins -- from 1979

Humor and Grammar Gremlins — from 1979

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Writing tip Wednesday: “Top ten….”

The Top 10 Elements of a Book People Want to Read

by Helga Schier, PhD

Source: http://www.writersdigest.com/online-editor/the-top-10-elements-of-a-book-people-want-to-read?et_mid=733701&rid=239626420

Aim for High Readability

Helga Schier

Helga Schier

People enjoy books with a high level of readability—books with a captivating story and memorable characters, books we can’t put down, books that stick with us long after we’ve read the last word.

As an independent editor, I’ve come across my fair share of readable books, and all of them are well crafted on three distinct but intricately connected levels.

  1. The surface structure of the words on the page, which includes grammar, punctuation, and spelling.
  2. The level of style and voice, which is defined by the choice of words, the sentence rhythm, the use of literary techniques and images, and the tone or approach
  3. The content level, where the fictional world comes to life.

Highly readable books are polished, refined, sophisticated, and mature on all three levels. To fulfill the potential of your book, develop and sharpen the following top ten elements.

1. Your Words Are Your tools; Make Sure They Are in Working Order.
Avoid typos, sort out commonly mistaken words such as die/dye or there/their/they’re. Watch your grammar—make sure your nouns agree with your verbs and the personal pronouns fit. If a paragraph begins in the past tense, it likely ought to end in the past tense, too. Figure out where those commas go to help your readers make sense of your sentences. Sounds basic? It is. So run that spell-check and get it right.

2. Check for Inconsistencies.
Writers revise their work constantly. As a result, characters may appear or disappear at random, because chapters were rearranged; subplots remain unresolved, because chapters were cut; and timeline issues may tiptoe in. Looking for inconsistencies and holes in your story is an integral part of polishing your work.

3. Avoid Overwriting.
Your style or voice should step into the background to serve your story. No need for a clever metaphor in every sentence, or for an adjective before every noun. Avoid complicated sentences if a simple sentence will get your point across. Avoid inflated sentences and unnecessary introductory or summarizing phrases. Don’t be verbose—every sentence has a point; get to it.

4. Avoid Underwriting.
Allow your language to adapt to its context. Using the same words and/or sentence structures repeatedly makes a novel repetitive and monotonous. If the teenage girl and the CEO of a multibillion dollar company have the same voice, we’ll learn more about the writer than about the characters and their relationships. Avoid clichés and create your own personal images instead. Or use clichés and stereotypes to your advantage—say, to define a character.

5. Make Sure Your Characters Are More Than a Name.
As a reader, I want to be able to relate to your characters. I don’t have to always like them or agree with their choices, but I want to understand why they say and do whatever it is they say and do. I want to care for them, fear and worry with them. Therefore, your characters need to be recognizable and unique at the same time. They need to be complex rather than cardboard cutouts, and dynamic rather than passive. Even a bad guy deserves a redeeming quality.

The other five recommendations are:

6. Show, Don’t Tell.

7. Sharpen that Dialogue…

8. …And Expose that Subtext.

9. Drive the Plot Towards Your Reader’s Aha-Moment.

10. Build Your World.

Details at: http://www.writersdigest.com/online-editor/the-top-10-elements-of-a-book-people-want-to-read?et_mid=733701&rid=239626420

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Writing tip Wednesday: “Five from on high”

Writers Can Learn A Lot From Writing Tips Offered By Stephen King

Source: http://www.learnu.org/writers-can-learn-a-lot-from-writing-tips-offered-by-stephen-king/

Author offers advice.

Author offers advice.

Horror writer extraordinaire, Stephen King, has been around the proverbial block more than enough times to know what it takes, what works and what doesn’t when it comes to being a writer. He was kind enough to share some of his experience and insight into the profession in his 2010 memoir, On Writing.

There are a ton of invaluable tips and tid bits of advice for writers and it was nearly impossible to pick just a select few to cover today. After much consideration we were able to narrow down what we found to be incredibly useful information for our writer readers.

In his book, King said “I can’t lie and say there are no bad writers. Sorry, but there are lots of bad writers.” Well, he has a point…a blunt point, but a point all the same. So, with that in mind, here are some of our favorite tips from the “King of Horror”:

1. Put down the remote and pick up a book.
King calls television the “poison to creativity” and he’s pretty much spot on. TV is known to suck out the imagination and dull the senses, which are two very important things to writers. He suggests doing away with the TV and picking up a book instead.Reading allows you to constantly learn and challenge your brain.

2. Don’t shy away from editing.
Cutting out bits and pieces of your writing is a rather hard part of the job, but an unavoidable one. King tells writers to, “Kill your darlings, kill your darlings, even when it breaks your egocentric little scribbler’s heart, kill your darlings.” You heard him, folks! Don’t be afraid of the delete and backspace keys.

3. Cut yourself off from external distractions when writing.
“Write with the door closed; rewrite with the door open,” King says. That sounds about right to us, too. Nothing can jam a writers creative flow quite like a heap of distractions. Writing is an internal activity that often requires the writer to sink into a zone that needs to be maintained.The best way to stay in the zone is to tuck yourself away in a corner without your phone, access to any social media sites and a note on your door asking for privacy.

4. Adverbs and long paragraphs should be avoided like the plague.
And, by the way, so should cliches.

5. Perfect the art of description, but don’t give away too much.

Read more: http://www.learnu.org/writers-can-learn-a-lot-from-writing-tips-offered-by-stephen-king/

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Writing tip Wednesday: “Tinker Mountain”

Residential and Online options

Residential and Online options

Workshop details

Workshop details

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Writing tip Wednesday: “Squaw Valley Workshops”

Poetry and Writing Workshops in June and July 2015.

Poetry and Writing Workshops in June and July 2015.

Details of the workshops and where to get more information.

Details of the workshops and where to get more information.

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Writing tip Wednesday: “Attire and attitude”

What's the best dressed author wearing these days, well here's a way to find out.

What’s the best dressed author wearing these days, well here’s a way to find out.

The Illustrated A-Z Guide To Author Wardrobe Staples

by Kate Gavino

Source: http://www.buzzfeed.com/kategavino/c-is-for-cardigan#.cvQdPjWq2

Learn now what you need to wear to better polish those sentences and tie up those loose ends in your writing.

And if you are new at this writing game, or starting to work on your first novel, consider this game as your guide to what’s ahead:

This Board Game Perfectly Captures What It’s Like To Write Your First Book
“Stare at the blank screen, try not to cry.”

by Jon Adams

Source: http://www.buzzfeed.com/jonadams/pasta-filled-taco#.kdOLyPzwb

The board game to guide you through your novel writing experience.

The board game to guide you through your novel writing experience.

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Writing tip Wednesday: “Inside, outside, roundabout side”

Three categories to better characters

Sometimes, when creating a character, it is good to break the characteristics of character into three general categories: Inside, outside, and roundabout side. In reality as in your characters, you will probably find that these categories overlap, bump up against each other, maybe even at times clash. Sometimes a good character, like a real person, can be his or her own worst enemy.

Use this below as a starting point. You can add your own questions or prompts. And you can use this for all the major characters, including the protagonist and antagonist. It could even help with some of the minor characters, too.

With the following categories in mind, reread your manuscript with an eye toward making your characters as compelling as possible: both the good guys and the bad ones.

1. Looking in or sometimes called motivation

  • What does your character want?
  • What does your character need?
  • Can you create a situation in which the need and the want come into conflict with each other?
  • Did your character have a happy or unhappy childhood and why?
  • What is your character obsessed with?
  • What is your character’s biggest fear?
  • What is your character’s biggest secret?
  • What is the best thing that has happened to your character? The worst?
  • What are your character’s past and present relationships? With parents? With friends? With enemies? With co-workers?
  • What does your character care about?

2. Looking out or sometimes called appearance, aesthetics, maybe even Mirror, mirror on the wall

  • What sex is your character?
  • How old is your character?
  • How tall is your character?
  • Hair color? Eye color? Skin color?
  • How many eyes, fingers, toes, etc. does your character have, or does your character have only some or none of these?
  • Does your character have an odd-shaped nose or other physical trait? Is this trait lifelong or recently acquired?
  • Does your character dress in the latest fashion with new clothes, in hand-me-downs, second-hand shop clothes, bargain basement buys?
  • Does your character practice regular hygiene? Bath/shower regularly? Smell if he or she doesn’t?
  • What would another character say about this character’s overall appearance?

3. Looking round about or sometimes called quirkiness, idiosyncrasy, or sometimes just plain weird
Please note, that a character’s quirkiness can often arise out of the looking in or looking out categories, and sometimes when one meets the other.

For example, the character could wear a fedora, may even have several for different occasions, and will wear nothing else on his / her head.

A small fear can be an idiosyncrasy. Your character could be afraid of spiders or the number 13.

  • Does your character always were the same color?
  • Does your character have a favorite number?
  • Does your character always count up the change in his / her pocket the same way? Pennies first, then nickels, then dimes, etc.?
  • Does your character have a nickname? If so, what is it and how does it relate to the character?
  • What is the one word that would best describe your character?

–David E. Booker

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Writing tip Wednesday: “No excuses”

Read and write and do both regularly

by Joe R. Lansdale

Source: https://www.facebook.com/JoeRLansdale/posts/753873058055046

Joe R. Lansdale

Joe R. Lansdale

A major rule of writing. Stop making excuses. You do have time if you want to do it. Sure, there are those rare exceptions. But nearly everyone has time. I worked two jobs and had time. Not a lot of time, but enough to get something done daily. If you have time to plop down in front of the TV to watch a Star Trek rerun, or what have you, you have time. If you can go to a job you hate, or at best tolerate, be on time and do it right, you should be able to find a few minutes a day to do something you really want to do. Even if you love your job and want to write, you can find time.

If you are going to take time off, read. That’s the most important tool to a writer. If you read you put fuel in the tank and you begin to better understand how stories are constructed. Once you lean how it works, or as best as anyone can learn how it works, then you can lose the rule book and do it anyway you like. You can make something new best when you understand something old. In other words, don’t mess with the structure of storytelling until you understand how it works, then you can successfully subvert it if you need to. A hard thing to grasp, but it’s true.

Put your ass in a chair in front of the world processor, typewriter, writing tablet, papyrus pages, what have you, and write.

Finish what you start. Sure, you can switch over and work on other things from time to time, but don’t end up with partials of this and pieces of that. Have a major project and finish it. When that’s done, start something new. While you’re marketing a novel, or if you’re far enough along to have an agent do it for you, start a new project to keep you from waiting by the telephone, mail box, email, for a response.

Work daily and at the same time if possible. If not, work when you can, but make it a habit. It takes a lot of hours before something kicks in as a habit. Set a time each day when you can work, and do it. It can be for whatever length of time you have available. If you can’t work every day of the week, try and work as many days as possible. Plan on four or five days at the least, seven if you can. Get up early on holidays and write a bit as a gift to yourself. Don’t let holidays spoil your momentum. Okay, you can take holidays off if you must, but be careful to stay in the zone.

Having a word count or page count can be useful.

Read the rest at: https://www.facebook.com/JoeRLansdale/posts/753873058055046

Or https://www.facebook.com/JoeRLansdale

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Writing tip Wednesday: “Reading is fundamental”

7 Reading Hacks To Improve Your Literary Skills

by Claire Fallon

Source: http://www.huffingtonpost.com/2015/01/12/6-reading-hacks-to-improv_n_6439230.html?utm_hp_ref=books

When we think of “hacks,” many of us think of tricks to make a task quicker and easier than we’d previously believed possible. And of course, people have been trying to “hack” reading for decades, whether through speed-reading courses or apps or … well, Cliff’s Notes. The temptation of speed-reading is strong; the sheer number of books to read in the world is daunting to even the most dedicated reader. If only we could read quickly and painlessly, maybe we could make a real dent in the world’s literature in our brief lifetimes!

Reading, however, isn’t like chilling a drink or opening plastic packaging: The experience itself has just as much to offer as the end result. Hacking the reading experience by speeding it up seems to miss the value of the reading process. Plus, speed-reading may not work as well as its proponents claim, especially for more complex texts, as faster reading tends to work out to worse comprehension.

That doesn’t mean we can’t use relatively simple tricks and techniques to improve our reading. These easy reading hacks may not allow you to breeze through books and articles at the speed of light, but they should help you concentrate better, process what you’re reading more effectively, and get more out of each book.

Here are 7 basic hacks to turn your reading up to 11:

Don’t read in bed

Okay, we all love reading in bed. It’s cozy, it’s relaxing, it feels like someone is dreaming a beautiful dream for you. And then, two minutes later, you fall asleep, only to wake up four hours later with a crumpled book on your face, confused. If you want to get some actual reading done, you have to do this the right way: in an at least somewhat vertical position. Stand at your standing desk. Sit on your exercise ball.

Read alone

Reading isn’t a group activity, and it certainly isn’t one facilitated by Gchat or Twitter. Set aside time to read alone, without distractions. If possible, read in a different room from your family or roommates, where there’s no TV blaring or conversation pulling you in. Definitely switch off your devices — checking for new texts, Facebook notifications, emails, Twitter mentions, Gchats, and Instagram likes is a sure path to distracted, ineffective reading.

Read in print if possible

Sorry e-reader fans — several studies have suggested that reading in print leads to superior comprehension and retention compared to reading on a screen. This suggests that trickier materials or books you hope to read more carefully should be read on paper, while the Kindle is reserved for fare you intend to skim or read purely for pleasure.

Underline

Books are precious, sacred objects. Nothing depresses us more than opening a used book we’ve purchased and seeing it covered with scribbled notes like, “LOL!” and “huh?” and “the tree symbolizes life” (no kidding?). However, you must leave this reverent attitude behind, as Tim Parks recently exhorted readers to do in the pages of The New York Review of Books, if you want to become a master reader. Start simply, with underlining. Hold a pen, or, if you’re still squeamish, a pencil as you read. Underscore lovely phrases, confusing sentences, or particularly memorable passages. By physically marking them, you’re forcing yourself to linger over them, taking extra mental note of the words and possibly giving yourself more opportunity to ponder their meaning.

Take notes

Don’t stop at underlining! It’s time to add some “LOL”s and “huh?”s to your own books. Taking notes, either in the book, on Post-Its, or in a separate notebook, ensures you’re not only engaged in this active conversation with the book, but that you have a record of it you can review later.

Other “hacks” include:
Reread for clarity

Read aloud, or mouth along

Details at: http://www.huffingtonpost.com/2015/01/12/6-reading-hacks-to-improv_n_6439230.html?utm_hp_ref=books

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