November 8, 2016
1821 words
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we're not kids anymore.
trying on a metaphor
Peter Solarz
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Sweet Seals For You, Always
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@awritinghabit
November 8, 2016
1821 words
November 7, 2016
1751 words
Ideas spawn ideas, it’s the act of working that creates ideas, not waiting for them.
Diana Gabaldon (via promptly-written)
November 6, 2016
1750 words
November 5, 2016
1716 words
Nicola Samori’s haunting, dark, romantic art
My favorite means of communication is otherworldly: dreams—meeting in dreams.
Marina Tsvetaeva, from a letter to Boris Pasternak featured in “A Russian Psyche: The Poetic Mind of Marina Tsvetaeva” (via punkrevolutionary)
November 4, 2016
1740 words
November 3, 2016
1836 words
November 2, 2016
1740 words
23 Emotions People Feel But Can’t Explain
Sonder: The realization that each passerby has a life as vivid and complex as your own.
Opia: The ambiguous intensity of Looking someone in the eye, which can feel simultaneously invasive and vulnerable.
Monachopsis: The subtle but persistent feeling of being out of place.
Énouement: The bittersweetness of having arrived in the future, seeing how things turn out, but not being able to tell your past self.
Vellichor: The strange wistfulness of used bookshops.
Rubatosis: The unsettling awareness of your own heartbeat.
Kenopsia: The eerie, forlorn atmosphere of a place that is usually bustling with people but is now abandoned and quiet.
Mauerbauertraurigkeit: The inexplicable urge to push people away, even close friends who you really like.
Jouska: A hypothetical conversation that you compulsively play out in your head.
Chrysalism: The amniotic tranquility of being indoors during a thunderstorm.
Vemödalen: The frustration of photographic something amazing when thousands of identical photos already exist.
Anecdoche: A conversation in which everyone is talking, but nobody is listening
Ellipsism: A sadness that you’ll never be able to know how history will turn out.
Kuebiko: A state of exhaustion inspired by acts of senseless violence.
Lachesism: The desire to be struck by disaster – to survive a plane crash, or to lose everything in a fire.
Exulansis: The tendency to give up trying to talk about an experience because people are unable to relate to it.
Adronitis: Frustration with how long it takes to get to know someone.
RĂĽckkehrunruhe: The feeling of returning home after an immersive trip only to find it fading rapidly from your awareness.
Nodus Tollens: The realization that the plot of your life doesn’t make sense to you anymore.
Onism: The frustration of being stuck in just one body, that inhabits only one place at a time.
Liberosis: The desire to care less about things.
Altschmerz: Weariness with the same old issues that you’ve always had – the same boring flaws and anxieties that you’ve been gnawing on for years.
Occhiolism: The awareness of the smallness of your perspective.
Source John Koenig, writer and creator of The Dictionary of Obscure Sorrows.
November 1, 2016
1728 words
Nanowrimo begins.Â
If you write one story, it may be bad; if you write a hundred, you have the odds in your favor.
Edgar Rice Burroughs (via wordpainting)
Hanya Yanagihara, A Little Life
How to Plot A Complex Novel in One Day (It WILL take all day)
Now first, I have to say, that the plot you’re able to come up with in one day is not going to be without its flaws, but coming up with it all at once, the entire story unfolds right in front of you and makes you want to keep going with it. So, where to begin?Â
What is your premise and basic plot? Pick your plot. I recommend just pulling one from this list. No plots are “original” so making yours interesting and complicated will easily distract from that fact, that and interesting characters. Characters will be something for you to work on another day, because this is plotting day. You’ll want the main plot to be fairly straight forward, because a confusing main plot will doom you if you want subplots.Â
Decide who the characters will be. They don’t have to have names at this point. You don’t even need to know who they are other than why they have to be in the story. The more characters there are the more complicated the plot will be. If you intend to have more than one subplot, then you’ll want more characters. Multiple interconnected subplots will give the illusion that the story is very complicated and will give the reader a lot of different things to look at at all times. It also gives you the chance to develop many side characters. The plot I worked out yesterday had 13 characters, all were necessary. Decide their “roles” don’t bother with much else. This seems shallow, but this is plot. Plot is shallow.Â
Now, decide what drives each character. Why specifically are they in this story? You can make this up. You don’t even know these characters yet. Just so long as everyone has their own motivations, you’re in the clear.Â
What aren’t these characters giving away right off the bat? Give them a secret! It doesn’t have to be something that they are actively lying about or trying to hide, just find something that perhaps ties them into the plot or subplot. This is a moment to dig into subplot. This does not need to be at all connected to their drive to be present in the story.  Decide who is in love with who, what did this person do in the 70’s that’s coming back to bite them today, and what continues to haunt what-his-face to this very day. This is where you start to see the characters take shape. Don’t worry much about who they are or what they look like, just focus on what they’re doing to the story.Â
What is going to change these characters? Now this will take some thinking. Everyone wants at least a few of the characters to come out changed by the end of the story, so think, how will they be different as a result of the plot/subplot? It might not be plot that changes them, but if you have a lot of characters, a few changes that are worked into the bones of the plot might help you.
Now list out the major events of the novel with subplot in chronological order. This will be your timeline. Especially list the historical things that you want to exist in backstory. List everything you can think of. Think about where the story is going. At this point, you likely haven’t focused too much on the main plot, yeah, it’s there, but now really focus on the rising actions, how this main plot builds its conflict, then the climactic moment. Make sure you get all of that in there. This might take a few hours.Â
Decide where to start writing. This part will take a LOT of thinking. It’s hard! But now that you’ve got the timeline, pick an interesting point to begin at. Something with action. Something relevant. Preferably not at the beginning of your timeline - you want to have huge reveals later on where these important things that happened prior are exposed. This is the point where you think about what information should come out when. This will be a revision of your last list, except instead of being chronological, it exists to build tension.Â
Once you’ve gotten the second list done, you’ve got a plot. Does it need work? Probably. But with that said, at this point you probably have no idea who half your characters are. Save that for tomorrow, that too will be a lot of work.Â
After you’ve plotted the loose structure of your novel from this, see my next post to work on character!Â
Beloved Canadian writer and Nobel laureate Alice Munro turns 85 today. Here is her timeless wisdom on storytelling.