[perfectpullquote align=”full” cite=”” link=”” color=”” class=”” size=””] Everything in life is writable about if you have the outgoing guts to do it, and the imagination to improvise. -Sylvia Plath. [/perfectpullquote]
It’s okay for readers to know what is going to happen (boy gets girl; Frodo destroys the ring), but they don’t know how. You want enough surprises and twists that the reader is thrilled, but you don’t want them throwing that book across the room upset that your ending makes no sense.
Do you ever sit down to write for a couple of hours, only to find yourself with only a paragraph or two to show for it?
For some strange reason, whenever I rail about PAY THE WRITER there is this knee-jerk assumption we writers are foisting something fundamentally unwanted onto the unsuspecting public and if they read our stuff they’re doing us a favor. Untrue. People want good books.
Know your character. If you’re struggling with a character’s dialogue, it’s probably because you don’t know them well enough. Stop, flesh out this person. What do they they love? What do they hate? What do they fear?
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Double negatives get a bad rap in the writing world—as generally, they should. We’ve all been taught to avoid phrases like “She didn’t like no one,” or “He never said nothing,” because they are unwieldy and confusing and in fact mean the opposite (“She likes everyone,” “He said something”) of what they appear to.
Definition of posture: A position or attitude of the body or of bodily parts: A characteristic way of bearing one’s body, especially the trunk and head.
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Failure is something no one looks forward to or wants to experience. It doesn’t feel good to fight for something and fail.
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A writer might write well and have some great plot and concept ideas, even wonderful characters and a compelling setting. But if his novel isn’t carefully structured and written to fit a specific genre aimed at a specific audience, it often fails to get traction when published.
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When you’re writing a character, it’s important to know why she is the way she is. Knowing her backstory is important to achieving this end, and one of the most impactful pieces of a character’s backstory is her emotional wound.
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Last Monday, I posted this about an occurrence that happens with irritating regularity in the online screenwriting universe: The contentious specter of so-called screenwriting ‘rules’.
Format isn’t sexy. I’d recommend you study it only under special circumstances: Like you want to sell your script.
Writing sentences. It’s perhaps the most fundamental aspect of what we do as writers. And though this tweet is more about writing prose, it makes a valuable point for screenwriters as well.
This is the thing. We hear all the time that “nobody” has time to read screenplays anymore. There’s just too many of them around. Most of them are no good, for whatever reason. So put like that, is it any *wonder* it’s so difficult to get read??
It’s an all-craft episode as John and Craig discuss what they mean when they say good writing.
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Book publishing has always been a gamble, so nothing is new.
I think it’s fair to say that most of us are not looking to add more social media activity to our lives. In fact, we prefer to trim online activity or drop entire networks if possible.
So you’ve written a book. You’re selling it in ebook and paperback, and you’ve been hearing that audio is an expanding market and you want in on it.
Book pages, especially early in the design and construction of your book, are architectural in that they contain basic structural elements that need to be built on strong foundations, allow for ornamentation where appropriate, and pay attention to the execution of the book’s function of transmitting information from author to reader.
The title to this post is Admiral Ackbar’s greatest fear: It is, indeed, a trap. Because the answer to this question is obvious: you shouldn’t pay anything to get published.
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