Single Eldritch Cryptid Seeks Same

[seven-oomen]

Save the cat! Outline:

Note: Not all of these beats are equal in scene length. Some can be very short, others long.

Opening Image: They way your novel opens, usually with a scene, some narration. Introduction to the protagonist/world. (0-1% of the novel)

Theme stated: Life lesson, what does the protagonist need to learn before the end of the story? This is stated by a character that is not the hero. (at 5%)

Setup: Thing that needs fixing. (First 1-10%)

Catalyst: (Inciting incident) The thing that kick starts everything and ensures people can’t go back. (At around 10%)

Debate: Reactions to the inciting incident. (Around 10-20% in the novel. If your novel is 400 pages this happens between page 40-80)

Break into 2: Hero accepts the call to action.  (At 20%)

Theme Stated/ B Story: Introduction of a new character, or the character that helps the hero learn the theme. (At around 22%)

Fun and Games: Hero in their new world. (from 20 to 50% in the book aka page 80 to 200 in a 400 page novel) This is called fun and games because that’s what it is to the audience.

Midpoint: The middle of the book. Literally. False defeat/victory. Stakes are raised. Either things have been going the heroes way and they are on top of the world about to lose it all. Or things have been going down hill and this is where things start to get better. (At 50%, page 200.)

Bad guys (Internal) close in: If the midpoint was a false defeat, this is the point where things slowly get better. But the heroes flaws are closing in. (At 50-75%)

All is lost: Whiff of death. Rock bottom, something happens that shakes everything and crumbles the heroes. (At 75% Or page 300)

Dark night of the soul: Return to normal. This is where the hero deals with the darkest point. Reaction to all is lost. (At 75 to 80%)

Dark night epiphany: This is where the hero learns the life lesson/theme. (internally) (At 75 to 80%)

Breaking into 3: Hero realizes how he has to fix himself. (At 80%)

Finale: Hero proves that he truly learned the lesson/theme. (At 80 - 99%)

Gathering the team: Hero gathers the people around him.  (At 80 - 99%)

Executing the plan: They execute the plan.  (At 80 - 99%)

High tower surprise: Final act set back.  (At 80 - 99%)

Dig deep down: Hero uses their learned theme to band together.  (At 80 - 99%)

Final image: Opposing image to the opening image.Final scene of the novel. (At 99-100%)

[what-even-is-thiss]

I'm volunteering for a literary journal right now and there's two things I think you all should know.

1. Most people that submit to literary journals are cis white men. We know this because our journal has an anonymous survey about demographics for people that submit.

2. Most things that get submitted to the creative non fiction section are on the level of middle school "What I did over the summer" essays.

I cannot see the demographics of the people whose essays I'm reading, but guys, if you are wondering if you should submit your work to a literary journal or not, I promise you that just in terms of statistics there are a lot of mediocre cis white men and people in general confidently submitting weird crap that isn't literature to literature magazines. Do it. Submit your work. Please. If you want there to be more diversity in literature, be the diversity. Do it. Do it do it do it.

[what-even-is-thiss]

In general literary magazines want to include more diversity, but if poc, queer people, disabled people, etc. don't submit their work then they aren't gonna get more diverse because we just won't have the material necessary to get more diverse. Submit your work. Do it. Do it. Do it do it do it.

[what-even-is-thiss]

Here's a list of university run literary journals. Do it. Get published.

[what-even-is-thiss]

[wilthered-dreams]

Many indie lit mags also welcome works from BIPOC and LGBTQIA creatives because the editorial staff themselves are in that demographic. Quarantine brought on the start of the SO many indie lit mags - it’s almost a golden age. Don’t be afraid to submit — there will always be so many niches and aesthetics that one will bound to be the one that fits your style. 

There is so much work from marginalized narratives in litmags these days — people lament there is no representation in media, but that disregards the progress and diversity of the works of editors and writers who help make these litmags possible. 

There is representation, and it is flourishing. They are waiting to be read. 

The Lumiere Review compiles a list of submission opportunities every month, and it are always very useful: 

https://lumierereview.com/sub-sep-oct-2021

List of Litmags that Specifically Look for Work from Marginalized Creators or is Run by Marginalized Creators:

Warning Lines: https://warninglines.com/

With Confetti: https://with-confetti.com/

Giving Room Magazine: http://www.givingroommag.com/

The Bitchin’ Kitsch: https://www.talbot-heindl.com/

Tealight Press: https://www.tealightpress.com/

Tipping the Scales: https://www.tippingthescalesjournal.co.uk/

The Winnow Magazine: https://www.thewinnowmagazine.com/

perhappened: https://www.perhappened.com/

AZE Journal: https://azejournal.com/

Honeyfire Lit: https://honeyfirelit.com/

and so much more!!

(And even if some litmags’ mission statement isn’t specifically for marginalized creators, they will always welcome these narratives.)

So please, please submit!

[what-even-is-thiss]

Independent magazines are great too! I’m more familiar with the university journal scene so I appreciate this addition.

[bookishdiplodocus]

Hey writing friends,

I want to start researching how to become a successful indie author. Does anyone have recommendations for books, website, Facebook groups, podcasts, etc. where I can learn the trade?

Thanks buddies!

[tamarahaddock-author]

....this post is going to get long.

First, what do you mean by successful? Do you measure success by sheer numbers of books sold? By profits made? By people reading your book? Or some other benchmark.

Being a successful Indie Author means treating writing like a small business and behaving accordingly.

Your first step is going to be defining what your goal related to being successful is. I use a writing plan to lay out my yearly goals. You can read more about my writing plan Here or read about how to make your own here.

Writing/ Business Related books:

2☆ Freelance and Technical Writers: Words for Sale – Camden Flath

3☆ The Essential Guide to Writing a Novel: A Complete and Concise Manual for Fiction Writers – James Stewart Thayer

3☆ Page after Page – Heather Sellers

3☆ Small Business Survival Guide – Cliff Ennico

3☆ The Call of the Writer's Craft: Writing and Selling the Book Within – Tom Bird

4☆ The Art of War for Writers: Fiction Writing Strategies, Tactics, and Exercises - James Scott Bell

4☆ Outlining Your Novel: Map Your Way to Success – K.M. Weiland

4☆ What’s your Purple Goldfish? - Stan Phelps

4☆ Silent Sales Machine 9.0 – Jim Cockrum

4☆ What would Google Do – Jeff Jarvis

4☆ How to make Big Money in your small business – Jeffery Fox

4☆ Invent it, Sell It, Bank It – Lori Greiner

4☆ No Plot? No Problem! – Chris Baty

5☆ The Pocket Muse – Monica wood

5☆ How to Write Mysteries – Shannon O’Cork

5☆ On Writing – Stephen King

Blogs:

TCKPublishing’s blog has some good posts.

I already mentioned EADeverall’s site, but it bears repeating.

ScribeMedia’s blog has useful resources, but they are trying to sell a service.

BookBuzz has a good blog, but again its trying to sell a service.

Kindleprenuer’s blog is full of info.

Bookmarketingtools.com has a blog on how to do book promotions.

Print Publications:

If you can afford it get a subscription to Publisher’s Weekly or PW magazine to keep on top of industry news.

general advice:

There is a large writing community on twitter. It’s where a lot of publishers, agents, and book enthusiasts are, however, the community is very much a numbers game. If all you follow are writers, and all that follows you are writers, then your target audience, - readers- aren’t actually going to be seeing your posts. I have yet to figure out how to work the writer demographic to my favor. I’ve gotten a couple book sales through twitter, but not as many books as I’ve bought from other writers on twitter. On Twitter I tend to follow the writing community hashtag. I follow too many people to think of any to recommend off the top of my head.

I do most of my book sales in person at things like craft fairs and local vendor events. Finding them takes doing some networking and you have to be looking for opportunities or you won’t notice them. Search for “vendor” facebook groups for your areas. Join those. Contact your local library and bookstores. Let them know who you are and what you’re doing.

Take advantage of your library read every book on writing and every book on business/sales/ marketing they have available. Join any local writing groups, contact any local book clubs. Etc.

Take advantage of local media. When you release a book contact your local papers/ radio stations and let them know, “hey I live in the area and I have a book coming out on x date, we’ll be having a book release party at [venue], would you be interested in attending”

Some posts:

3 Things that Make a good indie book cover

How to make a story file

My posts

Risk Tolerance in Writing

Writing Records to Keep

My post about the Writing Assessments I mentioned earlier

That's all I have for now. hope it helps.

[bookishdiplodocus]

Oh my god, Tamara, this is the holy grail of research tips you've given me <3 Thank you SO much!

[mylordshesacactus]

Hot take: Actual literary analysis requires at least as much skill as writing itself, with less obvious measures of whether or not you’re shit at it, and nobody is allowed to do any more god damn litcrit until they learn what the terms “show, don’t tell” and “pacing” mean.

[mylordshesacactus]

Pacing

The “pacing” of a piece of media comes down to one thing, and one thing only, and it has nothing to do with your personal level of interest. It comes down to this question alone: Is the piece of media making effective use of the time it has?

That’s it.

So, for example, things which are NOT a example of bad pacing include a piece of media that is:

A slow burn

Episodic

Fast-paced

Prioritizing character interaction over intricate plot

Opening in medias res without immediate context

Incorporating a large number of subplots

Incorporating very few subplots

Bad pacing IS when a piece of media has

“Wasted” time, ie, screentime or page space dedicated to plotlines or characters that are ultimately irrelevant to the plot or thematic resolution at the cost of properly developing that resolution. Pour one out for the SW:TCW fans.

The presence of a sidestory or giving secondary characters a separate resolution of their personal arc is not “bad writing,” and only becomes a pacing issue if it falls into one of the other two categories.

Not enough time, ie, a story attempts to involve more plotlines than it has time or space to give satisfying resolutions to, resulting in all of them being “rushed” even though the writer(s) made scrupulous use of every second of page/screentime and made sure every single section advanced those storylines.

Padding for time, ie, Open-World Game Syndrome. Essentially, you have ten hours of genuinely satisfying story….but “short games don’t sell,” so you insert vast swathes of empty landscape to traverse, a bunch of nonsense fetch quests to complete, or take one really satisfying questline and repeat it ten times with different names/macguffins, to create 40 hours of “gameplay” that have stopped being fun because the same thing happens over and over. If you think this doesn’t happen in novels, you have never read Oliver Twist.

Another note on pacing: There are, except arguably in standalone movies, at least two levels of pacing going on at any given time. There’s the pacing within the installment, and the pacing within the series. Generally, there’s three levels of pacing–within the installment (a chapter, an episode, a level), within the volume (a season, a novel, a game), and within the series as a whole. Sometimes, in fact FREQUENTLY, a piece of media will work on one of these levels but not on all of them. (Usually the ideal is that it works on all three, but that’s not always important! Not every individual chapter of a novel needs to be actively relevant to the entire overarching series.)

Honestly, the best possible masterclass in how to recognize good, bad, and “they tried their best but needed more space” pacing? If you want to learn this skill, and get better at recognizing it?

Doctor Who.

ESPECIALLY Classic Who, which has clearly-delineated “serials” within their seasons. You can pretty much pick any serial at random, and once you’ve seen a few of them, you get a REALLY good feel for things like, for example…

Wow, that serial did not need to be twelve episodes long; they got captured and escaped at least three different times and made like four different plans that they ended up not being able to execute, and maybe once or twice they would have ramped up the tension, but it really didn’t contribute anything–this could have been a normal four-episode serial and been much stronger.

Holy shit there were WAY too many balls being juggled in this, this would have been better with the concepts split into two separate serials, as it stands they only had four episodes and they just couldn’t develop anything fully

Oh my god that was AMAZING I want to watch it again and take notes on how they divided up the individual episodes and what plot beats they chose to break on each week

Eh, structurally that was good, but even as a 90-minute special that nuwho episode feels like it would have worked a lot better as a Classic serial with a little more room to breathe.

How in the actual name of god did they stretch like twenty minutes of actual story into a four-episode serial (derogatory)

How in the actual name of god did they stretch like twenty minutes of actual story into a four-episode serial (awestruck)

If you’re not actively trying to learn pacing, either for literary analysis or your own writing…honestly? Just learn to differentiate between whether the pacing is bad or if it just doesn’t appeal to you. There’s a WORLD of difference between “The pacing is too slow” and “the pacing is too slow for me.” 

“I really prefer a slower build into a universe; the fact that it opens in medias res and you piece together where you are and how the magic system works over the next several chapters from context is way too fast-paced for me and makes me feel lost, so I bounced off it” is, usually, a much more constructive commentary than “the pacing is bad”. 

And when the pacing really is bad, you’ll be doing everyone a favor by being able to actually articulate why.

[mylordshesacactus]

Show, Don’t Tell

This is a very specific rule that has been taken dramatically out of context and is almost always used incorrectly.

“Show, don’t tell” applies to character traits and worldbuilding, not information in the plot.

It may be easier to “get” this rule if you forget the specific phrasing for a minute. This is a mnemonic device to avoid Informed Attributes, nothing more and nothing less. 

Character traits like a character being funny, smart, kind, annoying, badass, etc, should be established by their behavior in-universe and the reactions of others to them–if you just SAY they’re X thing but never show it, then you’re just telling the audience these things. Similarly you can’t just tell the audience that a setting has brutal winters and expect to be believed, when the clothing, architecture, preparations, etc shown as common in that setting do not match those that brutal winters would necessitate. 

To recap:

Violations of Show Don’t Tell:

A viewpoint character describing themselves as having a trait (being a loner, easily distractable, clumsy, etc) but not actually shown to possess it (lacking friends, getting distracted from anything important, or dropping/tripping over things at inopportune moments.)

The narration declaring an emotional state (”Character A was furious”) rather than demonstrating the emotion through dialogue or depicting it onscreen.

A fourth-wall-breaking narrator; ie, Kuzco in The Emperor’s New Groove directly addressing the audience to explain that he’s a llama and also the protagonist, is NOT the same! This actually serves as a flawless example of showing rather than telling–we are SHOWN that Kuzco is immature and egotistical, even though that’s not what he’s saying.

A fictional society or setting being declared by the narrative to be free of a negative trait–bigotry, for example–but that negative trait being clearly present, where this discrepancy is not narratively engaged with. 

(For example: There is officially no sexism in Thedas and yet female characters are subject to gendered slurs and expectations; the world of Honor Harrington is supposedly societally opposed to eugenics, yet “cures” for disability and constant mentions of a nebulous genetic “advantage” from certain characters’ ancestry are regular plot points that are viewed positively by the characters and are not narratively questioned.)

A character declaring that their society has no bigotry, when that character is clearly wrong, is not the same thing.

The narrative voice declaring objective correctness; everyone who agrees with the protagonist is portrayed as correct and anyone who questions them is portrayed as evil, or else there is no questioning whatsoever. For example: in Star Trek: Enterprise, Jonathan Archer tortures an unarmed prisoner. What follows is a multi-episode arc in which every person he respects along with Starfleet Command goes out of their way to dismiss the idea that he should bear any guilt, or that his actions were anything but completely necessary and objectively morally correct. No narrative space is allowed for disagreement, or for the audience to come to its own conclusion.

NOT Violations of Show Don’t Tell:

A character explaining a concept to another character who would logically, within that universe/situation, be the recipient of such an explanation.

An in-universe explanation BECOMES a SdT violation if the explanation fails to play out in reality, such as a spaceship being described as slow or flawed in some way but never actually having those weaknesses. Imagine if the Millennium Falcon was constantly described as a broken-down piece of junk…and never had any mechanical failures, AND Han and Chewie weren’t constantly shown repairing it!

Information being revealed through dialogue, period. Having your hacker in a heist movie describe the enemy security system isn’t “telling” and thus bad writing. Having information revealed organically through dialogue is what “show” means.

The “as you know” trope is technically a Show Don’t Tell violation, despite being dialogue, because it’s unnatural within the universe and serves solely to let the writer deliver information directly, ie, telling.

Characters discussing their own actions and expressing their motivations and/or decision-making process at the time.

The existence of an omnipotent narrator, or the narration itself confirming something. Narration saying “there was no way anyone could make it in time” is delivering contextual information, not breaking Show Don’t Tell. 

Keep in mind that “Show, don’t tell” is meant to be advice for beginning authors. Because “telling” is easier and requires less skill than “showing,” inexperienced authors need to focus on getting as much “show” in as possible. 

However, “telling” is also extremely important. Sometimes, especially in written formats, the most appropriate way to deliver information to the audience is to just say it and move on.

Keep in mind that a viewpoint character in anything but…a portal fantasy, essentially…is going to be familiar with the world they’re in. Not every protagonist needs to be a raw newcomer with zero knowledge of their new world! In most cases, a viewpoint character is going to know things that the audience doesn’t. Generally, the ONLY natural way to introduce worldbuilding in this situation is to just have the narration point them out. (It makes sense for Obi-Wan to have to explain the Force; it would make no sense for Han to explain the concept of space travel to Luke, who grew up in this universe and knows what the hell a starship is. So, if you’re writing the novelization of A New Hope, you need to just say “and so they jumped into hyperspace, the strange blue-white plane that allowed faster-than-light travel” and move the hell on.)

For that matter, in some media (ie, children’s cartoons) where teaching a moral lesson is the clear intent, a certain level of “telling” is not only appropriate but necessary!

The actual goal of “showing” and “telling” is to maintain a balance, and make sure everything feels natural. Show things that need to be shown, and…don’t waste everyone’s time showing things that would feel much more natural if they were just told.

But that’s not nearly as pithy a slogan.

[mylordshesacactus]

(Reblog this version y’all I fixed some really serious typos)

[perpetual-stories]

Story Structures for your Next WIP

hello, hello. this post will be mostly for my notes. this is something I need in to be reminded of for my business, but it can also be very useful and beneficial for you guys as well.

everything in life has structure and storytelling is no different, so let’s dive right in :)

First off let’s just review what a story structure is :

a story is the backbone of the story, the skeleton if you will. It hold the entire story together.

the structure in which you choose your story will effectively determine how you create drama and depending on the structure you choose it should help you align your story and sequence it with the conflict, climax, and resolution.

1. Freytag's Pyramid

this first story structure i will be talking about was named after 19th century German novelist and playwright.

it is a five point structure that is based off classical Greek tragedies such as Sophocles, Aeschylus and Euripedes.

Freytag's Pyramid structure consists of:

Introduction: the status quo has been established and an inciting incident occurs.

Rise or rising action: the protagonist will search and try to achieve their goal, heightening the stakes,

Climax: the protagonist can no longer go back, the point of no return if you will.

Return or fall: after the climax of the story, tension builds and the story inevitably heads towards...

Catastrophe: the main character has reached their lowest point and their greatest fears have come into fruition.

this structure is used less and less nowadays in modern storytelling mainly due to readers lack of appetite for tragic narratives.

2. The Hero's Journey

the hero's journey is a very well known and popular form of storytelling.

it is very popular in modern stories such as Star Wars, and movies in the MCU.

although the hero's journey was inspired by Joseph Campbell's concept, a Disney executive Christopher Vogler has created a simplified version:

The Ordinary World: The hero's everyday routine and life is established.

The Call of Adventure: the inciting incident.

Refusal of the Call: the hero / protagonist is hesitant or reluctant to take on the challenges.

Meeting the Mentor: the hero meets someone who will help them and prepare them for the dangers ahead.

Crossing the First Threshold: first steps out of the comfort zone are taken.

Tests, Allie, Enemies: new challenges occur, and maybe new friends or enemies.

Approach to the Inmost Cave: hero approaches goal.

The Ordeal: the hero faces their biggest challenge.

Reward (Seizing the Sword): the hero manages to get ahold of what they were after.

The Road Back: they realize that their goal was not the final hurdle, but may have actually caused a bigger problem than before.

Resurrection: a final challenge, testing them on everything they've learned.

Return with the Elixir: after succeeding they return to their old life.

the hero's journey can be applied to any genre of fiction.

3. Three Act Structure:

this structure splits the story into the 'beginning, middle and end' but with in-depth components for each act.

Act 1: Setup:

exposition: the status quo or the ordinary life is established.

inciting incident: an event sets the whole story into motion.

plot point one: the main character decided to take on the challenge head on and she crosses the threshold and the story is now progressing forward.

Act 2: Confrontation:

rising action: the stakes are clearer and the hero has started to become familiar with the new world and begins to encounter enemies, allies and tests.

midpoint: an event that derails the protagonists mission.

plot point two: the hero is tested and fails, and begins to doubt themselves.

Act 3: Resolution:

pre-climax: the hero must chose between acting or failing.

climax: they fights against the antagonist or danger one last time, but will they succeed?

Denouement: loose ends are tied up and the reader discovers the consequences of the climax, and return to ordinary life.

4. Dan Harmon's Story Circle

it surprised me to know the creator of Rick and Morty had their own variation of Campbell's hero's journey.

the benefit of Harmon's approach is that is focuses on the main character's arc.

it makes sense that he has such a successful structure, after all the show has multiple seasons, five or six seasons? i don't know not a fan of the show.

the character is in their comfort zone: also known as the status quo or ordinary life.

they want something: this is a longing and it can be brought forth by an inciting incident.

the character enters and unfamiliar situation: they must take action and do something new to pursue what they want.

adapt to it: of course there are challenges, there is struggle and begin to succeed.

they get what they want: often a false victory.

a heavy price is paid: a realization of what they wanted isn't what they needed.

back to the good old ways: they return to their familiar situation yet with a new truth.

having changed: was it for the better or worse?

i might actually make a operate post going more in depth about dan harmon's story circle.

5. Fichtean Curve:

the fichtean curve places the main character in a series of obstacles in order to achieve their goal.

this structure encourages writers to write a story packed with tension and mini-crises to keep the reader engaged.

The Rising Action

the story must start with an inciting indecent.

then a series of crisis arise.

there are often four crises.

2. The Climax:

3. Falling Action

this type of story telling structure goes very well with flash-back structured story as well as in theatre.

6. Save the Cat Beat Sheet:

this is another variation of a three act structure created by screenwriter Blake Snyder, and is praised widely by champion storytellers.

Structure for Save the Cat is as follows: (the numbers in the brackets are for the number of pages required, assuming you're writing a 110 page screenplay)

Opening Image [1]: The first shot of the film. If you’re starting a novel, this would be an opening paragraph or scene that sucks readers into the world of your story.

Set-up [1-10]. Establishing the ‘ordinary world’ of your protagonist. What does he want? What is he missing out on?

Theme Stated [5]. During the setup, hint at what your story is really about — the truth that your protagonist will discover by the end.

Catalyst [12]. The inciting incident!

Debate [12-25]. The hero refuses the call to adventure. He tries to avoid the conflict before they are forced into action.

Break into Two [25]. The protagonist makes an active choice and the journey begins in earnest.

B Story [30]. A subplot kicks in. Often romantic in nature, the protagonist’s subplot should serve to highlight the theme.

The Promise of the Premise [30-55]. Often called the ‘fun and games’ stage, this is usually a highly entertaining section where the writer delivers the goods. If you promised an exciting detective story, we’d see the detective in action. If you promised a goofy story of people falling in love, let’s go on some charmingly awkward dates.

Midpoint [55]. A plot twist occurs that ups the stakes and makes the hero’s goal harder to achieve — or makes them focus on a new, more important goal.

Bad Guys Close In [55-75]. The tension ratchets up. The hero’s obstacles become greater, his plan falls apart, and he is on the back foot.

All is Lost [75]. The hero hits rock bottom. He loses everything he’s gained so far, and things are looking bleak. The hero is overpowered by the villain; a mentor dies; our lovebirds have an argument and break up.

Dark Night of the Soul [75-85-ish]. Having just lost everything, the hero shambles around the city in a minor-key musical montage before discovering some “new information” that reveals exactly what he needs to do if he wants to take another crack at success. (This new information is often delivered through the B-Story)

Break into Three [85]. Armed with this new information, our protagonist decides to try once more!

Finale [85-110]. The hero confronts the antagonist or whatever the source of the primary conflict is. The truth that eluded him at the start of the story (established in step three and accentuated by the B Story) is now clear, allowing him to resolve their story.

Final Image [110]. A final moment or scene that crystallizes how the character has changed. It’s a reflection, in some way, of the opening image.

(all information regarding the save the cat beat sheet was copy and pasted directly from reedsy!)

7. Seven Point Story Structure:

this structure encourages writers to start with the at the end, with the resolution, and work their way back to the starting point.

this structure is about dramatic changes from beginning to end

The Hook. Draw readers in by explaining the protagonist’s current situation. Their state of being at the beginning of the novel should be in direct contrast to what it will be at the end of the novel.

Plot Point 1. Whether it’s a person, an idea, an inciting incident, or something else — there should be a "Call to Adventure" of sorts that sets the narrative and character development in motion.

Pinch Point 1. Things can’t be all sunshine and roses for your protagonist. Something should go wrong here that applies pressure to the main character, forcing them to step up and solve the problem.

Midpoint. A “Turning Point” wherein the main character changes from a passive force to an active force in the story. Whatever the narrative’s main conflict is, the protagonist decides to start meeting it head-on.

Pinch Point 2. The second pinch point involves another blow to the protagonist — things go even more awry than they did during the first pinch point. This might involve the passing of a mentor, the failure of a plan, the reveal of a traitor, etc.

Plot Point 2. After the calamity of Pinch Point 2, the protagonist learns that they’ve actually had the key to solving the conflict the whole time.

Resolution. The story’s primary conflict is resolved — and the character goes through the final bit of development necessary to transform them from who they were at the start of the novel.

(all information regarding the seven point story structure was copy and pasted directly from reedsy!)

i decided to fit all of them in one post instead of making it a two part post.

i hope you all enjoy this post and feel free to comment or reblog which structure you use the most, or if you have your own you prefer to use! please share with me!

if you find this useful feel free to reblog on instagram and tag me at perpetualstories

Follow my tumblr and instagram for more writing and grammar tips and more!

[relatablegenzwriter]

questions to ask your beta readers!

(pls add on!) i’m currently working with betas seriously for the first time, so i made a list of questions that have become increasingly helpful as i have those discussions! in addition to these, it’s also good to ask a few big questions specific to your piece.

GENERAL

what do you like most about this piece?

what doesn’t make sense to you/what was confusing?

what big questions do you still have?

what felt incomplete?

what do you think this story is about?

what were you most/least invested in?

CHARACTERS

always ask for “your thoughts” on your most important characters. nothing like “did tyrone come off as shy?” or “does leah seem bossy to you?”, because that can sometimes sway responses.

also ask for “thoughts” on key relationships between characters.

who is your favorite character?

who is the strongest character?

who do you wish you saw more of?

who do you wish you saw less of?

are there characters who don’t add anything to the story? what would make them add more?

did you confuse any characters with one another? (if you have a big cast)

what did you think about [character a] versus [character b]? (if you have two very similar characters)

if a character has a moral conflict in the story/does something morally grey, ask where they stand on that character’s actions. if they have a strong reaction with a different opinion, that might be something to look into.

which characters did you dislike (as people, not as characters)?

do any of the characters ever act out of character?

does the main character/narrator feel like the best person to be telling the story? if not, who does?

PLOT

are there scenes/chapters/plot points that don’t add to the story?

do any moments seem out of place?

how would you have wanted this to end?

if you’re considering taking a scene out, ask what that adds to the story, and what it would lose without the scene.

same goes with adding a scene!

which scene felt like the most important scene?

what was your favorite part?

if you could change anything about the plot, what would it be?

how did [particular scene] make you feel?

alternatively, which scene made you feel the strongest emotions?

STYLE

does this feel like the right pov narration (1st person, 3rd person, etc.) for this piece?

does this feel like the right tense?

are there any phrases, metaphors, etc. that were confusingly worded?

if the piece uses a unique writing style, what do you think about [style]?

if it has multiple povs/narrators, could you tell the difference between voices? which voice was your favorite?

OTHER

are there any grammatical errors? (optional, if you have a 300 page novel please do not make your betas do this)

what is your favorite restaurant/coffee shop/store so i can buy you a meal and/or gift card as a thank you for being a crucial part of my writing process?

[archived-aquiniawrites-deactiva]

Thought it might be useful: a list of some novels with an average number of chapters & word count per chapter. source

[ladytp]

This is kind of cool as it shows - once again - how fanfiction trumps many published, recognised books in numbers game… And the average chapter length seems to be largely on par with what the readers seem to like the most - based on Tumblr discussions (eg in @ao3commentoftheday).

[thatwritergirlsblog]

Testing out popular (FREE) writing hacks

There are a lot of writing hacks floating around, tips that are supposed to increase your writing productivity. Well, I tested them, and here are my thoughts:

1. Use Comic Sans

Let’s be honest. When we were in primary school, we typed EVERYTHING in Comic Sans. However, as we got older and more professional, Comic Sans appeared childish and we stopped using it.

Ask anyone what the most unprofessional font is and they’ll probably answer: Comic Sans MS

However, earlier this year the idea of using Comic Sans when writing your first draft started popping up and now, a lot of writers are swearing by it.

So, did it increase my productivity?

YES

I started writing a scene in Comic Sans and I wrote about five pages in like 30 minutes. The words just flowed. I don’t know why this font increases writing productivity, but if it works, I don’t really care why.

So, I would 100% recommend trying Comic Sans for your first draft. Remember, no one’s going to see it. And it’s pretty easy to change back to something like Times New Roman once you’ve finished a scene.

2. Dictation

I’ve heard a lot of professional authors rave about how much time they save by dictating their first drafts. However, a lot of dictation software and microphones are quite expensive. So, I tried the free alternatives at my disposal.

The latest version of OneNote, which comes included in a lot of Microsoft Office packages, now has a dictation feature. I know this isn’t technically free, but it was for me, since I already have Office installed. The OneNote mobile app is free, but I don’t know it is has this feature. And I just used the built-in microphone on my laptop. Google Docs also has a dictation feature, I think, but I haven’t tried it yet.

So, does it work?

The accuracy is surprisingly good. I dictated about three paragraphs this morning and only one or two words were incorrect. Also, OneNote’s dictation doesn’t allow for speaking punctuation, which means you’ll have to add these after the fact. Additionally, few people actually write in OneNote, so you’ll have to paste the text into your document.

Overall, this could be great for someone whose hands are tired of typing or who cannot sit at a desk any longer than their job already requires. However, it doesn’t really increase productivity. This may just be me, but I take longer to think up good sentences when I have to speak them. Then, I have to go back and add punctuation marks and correct some words. And then paste it into my draft document. It’s easier to just write it from the get-go.

However, some authors say that it just takes getting used to. So, maybe if you’re more of a verbal/audio thinker and don’t have your hands available at all times, this is a good hack for you. I just don’t think I’ll be using it much. 

3. Writing sprints

This has been around for quite some time, but I only really started using it when I attempted Camp Nanowrimo during my test month. Essentially, writing sprints entail setting a timer for somewhere under an hour and then just focusing on getting as many words written as possible before the timer goes off. There are many published authors who swear by this.

So, does it increase productivity?

Yes. Firstly, it pushes you to write when you wouldn’t have in other circumstances, since it allows you to utilise even the smallest free periods. Have an hour between classes? Find a flat surface and do a writing sprint. Have to study all evening? Do a 25-minute sprint before you start. Secondly, it also helps you get more words down in that time, because you don’t have to worry about what you have to do next or whether your writing is any good. All you focus on is producing as many words as possible before that timer goes off.

So, if you’re a busy person, try using writing sprints here and there to increase your productivity.

4. Writing groups

Many authors enjoy the camaraderie and accountability that comes with writing with a lot of other people, whether it be in a physical space or an online group. There’s a set time everyone in the group will be writing and you keep one another company, checking up on one another’s progress and sharing motivation.

Does it increase productivity?

Not for me. This is largely a personal thing, but I actually get less writing done in the presence of other people. I’m more anxious. I get distracted by other people’s comments. And I constantly find myself wondering when the session will end. To me, writing is a solitary thing. I work best holed up in my room with no one around and no one leaving online comments about their own writing. Yes, I love checking in on others’ progress and sharing my own on Instagram, but only after my writing session has finished.

However, you may find that writing groups work for you. Maybe not being alone is just nicer for you, regardless of whether you get more words down or not. So, this one is definitely dependent on the individual.

5. Background noise

Some writers create signature playlists for each of their WIPs. Some write specific scenes to specific songs. Others use white noise or instrumentals. But it’s clear that writing with some form of background sound works for a lot of authors.

Let me start by saying that I cannot get any work done when listening to music with lyrics. So, I didn’t even try this. Instead, I tried fantasy instrumental playlists on YouTube, rainymood.com and ambient-mixer.com 

Does it work?

Sometimes.

If I’m writing a fight scene, listening to epic battle music will help me write it faster. I write at my best during thunderstorms, so rainymood.com definitely increases my productivity. Ambient mixer offers a huge variety of ambient sounds to listen to, ranging from scary woods to driving with the Winchesters. “Quiet library” on ambient mixer helps a lot when I have to study, but not really when I have to write. So, yes, in certain instances, background noise helps me write faster. But, mostly, I enjoy writing in silence or with natural, real-life sounds around me.

Once again, this is purely personal. Regardless, I can definitely recommend the two websites I mentioned above.

So, that’s all I have for you today. I hope that these “reviews” can help you decide which writing hacks will work for you. Remember that my asks are always open for creative writing questions, and that post submissions are always welcome!

Reblog if you found this post useful. Comment if there are any writing hacks you’d like me to try out in the future. Follow me for similar content.

[swellio]

ways to describe facial expressions in writing

humans can obviously talk to communicate, but you have to remember that, naturally, we use our face to show expressions as well.

EYES

- widened in surprise/shock, filled with confusion/hurt

- narrowed into a glare

- filled with tears

- looking down at the ground defeatedly

- gleaming with mischief

- shining with hope/determination

- burning with hate

- emotionless stare

EYEBROWS

- raised in surprise

- furrowed in confusion/thought/worry

- one eyebrow perked to show attitude

NOSE

- scrunched in digust

- blushing with embarrassment

- lifted higher = more confidence/bigger ego

- aimed lower = less confident/weak

MOUTH

- in a pout = upset

- gaping with shock/confusion

- lips shaking from trying to hold back tears

- pursed in thought

- pulled into a smirk

- widened into a grin

PUTTING THEM TOGETHER

- Eyes wide and mouth gaping, they felt numb with shock.

- They felt their face begin to burn as they shifted their gaze to the ground.

- They pursed their lips as they concentrated, brow furrowing.

- Their eyes gleamed with mischief as they smirked.

using facial expressions is very useful in writing. simply using dialogue to express your characters’ emotions and thoughts will lose your audience’s attention and interest.

keep these in mind while writing!

[letswritesomenovels]

How to pitch your novel in under a minute

One of those things every author needs to learn to do at some point or other is give what’s called an “elevator pitch.” This pitch is so named, because should you be in an elevator with someone you’d like to read your book, there wouldn’t be any time for a ten-minute synopsis. You would need to pitch your idea to them in a matter of seconds, catching their interest while you still had them trapped in a small space, forced to hear you out.  

Most elevator pitches aren’t actually given in elevators. They’re given at networking events, in bookstores, to friends and family, and basically whenever anybody asks “so what is your book about?” Usually the person you’re speaking to won’t be waiting for the doors to open so they can escape, but the ability to quickly spark someone’s interest in your story is invaluable.

Your “elevator pitch” should easily answer the explicit question: “so what is your book about?” and the implicit question: “and why should I want to read it?” 

A good elevator pitch has two elements: the one-sentence description and a few comparable titles. These should work together to tell interested parties exactly what they need to know in as little time as possible.

The One-Sentence Description

The goal of the one-sentence description is to lay out a clear premise that’s able to pique a perspective reader’s interest. Which is actually two goals. You need a clear, simple premise that more or less describes your entire book. And you need to make that simple premise engaging. 

Some advice on crafting your sentence:

Start by identifying your protagonist

Follow only one story thread

Limit it to 25 words max

Focus on the protagonist’s central conflict

Now this sentence probably isn’t going to describe your book to a T. It shouldn’t describe your book to a T. But your book should have some central idea that you can distill all of the intricacies of the plot down to. 

To be engaging, it must contain an inherent question. Usually this is: ‘does this person succeed?’ Sometimes it’s: ‘do they get together?’ It may be: ‘but is he really the murderer?’ If a reader can’t ask a question at the sentence’s end, your summary hasn’t properly engaged them. 

Examples:

A boy wizard begins training and must battle for his life with the Dark Lord who murdered his parents. (Source)

A young English nurse searches for the way back home after time-traveling from 1945 to 1743 Scotland. (Source)

A young man learns that destroying his magic ring is the key to saving his world from the Dark Lord. (Source)

Come Up With Multiple One Sentence Descriptions

Sometimes you don’t have to pitch THE high concept idea of your novel. Sometimes you’ll want to tailor your pitch to a particular reader. 

War and Peace is a slow-burn love story between Natasha and Pierre. War and Peace is about the effect of the Napoleonic wars on Russian high society. War and Peace is about the search for a life of meaning and purpose set in 18th c. Russia.

A war historian won’t like War and Peace for the same reasons as a reader interested in romance, and a reader interested in romance won’t like War and Peace for the same reasons as a philosopher, but they will all like the same book.

When pitching, it’s important to pitch your story to a specific audience. Draw out certain elements of a story according to certain reader’s tastes (if you know them). Have a few one-sentence descriptions that emphasise different elements of your story for every type of reader you come across. 

When pitching your book in 25 words, you’ll need to aim the arrow straight at the heart.

The Comparisons

The dreaded “X Meets Y” pitch. Once you’ve neatly summarised your story, it’s time to compare it to something. You don’t necessarily need to follow the “X meets Y” format to a T, but you do need to mention a few comparable titles.

Your comparisons can be a short-hand for style, tone, and all the sorts of things that can’t possibly be described in a sentence, no matter how long. They also serve to show your book’s potential place in the market, suggesting the sort of readers who might be interested in your book. This means you’ll typically want to use comps that are in the same age range and genre. Try to pick books that aren’t the most popular books in their genre, but that the person you’re pitching to should be familiar with. 

Some formats you can use instead of “X Meets Y”:

In the vein of X and Y

Would appeal to fans of X and Y

Like X but [concept]

Put them together and memorise

The elevator pitch for my WIP is: 

A girl inherits a book of spells and tries to fix the problems of her small town with its magic. [TITLE] has the heart of Kiki’s Delivery Service and the danger of The Graveyard Book. 

That pitch may not interest you particularly, but a fan of the comp titles certainly would be, and that’s exactly the sort of person the pitch is aimed towards (the sort of person who would probably enjoy the book). If I keep these two sentences in my back pocket, I have everything I need to grab a likely reader’s attention. 

Even if they’re only going from Floor 1 to Floor 2. 

Sources: 

The Art of Writing Copy

PubCrawl Podcast “X Meets Y” Pitches

How to Pitch Your Novel

Twitter Pitching Like a Pro

Nail Your Pitch

One Sentence Summary Clinic

Writing a One Sentence Summary

One Simple Way to Sharpen Your Pitch

Pitch Tips

On Good and Bad Book Pitches

[nimblesnotebook-blog]

Hook Me: Common Problems

I recently did another round of Hook Me, an exercise I do with my followers where they send in fake query letters and I critique them. 

A query letter is a short summary of your novel (a “hook”) that is used to pitch a novel to an agent or editor. Anyone who wants to get published needs to know how to write one.

So here are problems I saw in the majority, though not all, of the query letters I received.

1. My Story Is About…

Don’t use any of the following phrases in your query letter:

My story is about…

My story features…

This story is…

The main character is…

Throughout the story these characters encounter…

This story features themes such as…

This story has characters who are…

In a world where…

When writing a query letter, every word counts. Just jump right into it. Instead of starting with:

My story is about a spiteful, long-haired kitchen manager named Abbie who must track down the vampire who bit her and kill him to avoid becoming one herself.

start with: 

Abbie was just bitten by a vampire. To remain human, she must track down the one that bit her and kill him before the seven-day transformation can be completed.

And let the story speak for itself. Don’t just tell me that your story features the trials of friendship or that you have three lgbt characters or that it deals with heavy themes. Show me. In the manuscript.

2. Unnecessary Character Descriptions

I don’t need to know that the main character is a red-haired spunky teenager with three piercings and freckles and a knack for math. I don’t need to know these useless details.

Only tell me what I need to know about this character. What is relevant to the plot? To their motive? One of the few descriptors that you can add that may not be entirely relevant would be the age of the main character.

3. Comparing Your Story to The Wrong Thing

Your story is not like Star Wars or Harry Potter or Twilight or The Hunger Games. Nor will your story appeal to any of those audiences.

Those audiences have millions of people. Many of those people fall outside of the initial target audiences. Many of those people don’t particularly like fantasy or sci-fi or vampires or anything like that, but when something gets as popular as the series above, it draws all kinds of people.

Don’t compare your story to some of the biggest franchises in the world. This doesn’t tell agents or editors anything about your target audience. It can also show you don’t really know your genre. If you write a sci-fi and only compare it to Star Trek and Star Wars, then it’s likely you haven’t read a lot of sci-fi.

4. Vague Blurbs

I don’t need a blurb or a vague logline. I’m not sure why you would include one. Unless you’re writing a screenplay, you really do not need one at this stage.

5. Too Much

I need the protagonist and the main conflict. That’s it. Don’t give me the back story of every major character. Don’t tell me about subplots. Don’t tell me ¾ of the book.

And do not tell me the ending. Never tell the ending in a query. The point is to hook someone. You’re trying to get someone to read your story. You’re trying to intrigue them. Telling me the ending does not do that.

Also falling into this category is too many details. You need to learn how to cut down that background information into succinct sentences. Only give what is necessary. You shouldn’t spend a whole paragraph describing your protagonist and their world before you even mention the main conflict.

6. Too Little

In contrast with #5, some of you did not give me enough information. Or, at least, the information you gave was vague.

I need to know the plot. Describing the protagonist and the themes and some of the other characters and how their friendships might be in danger does not tell me anything. I don’t care about their relationships yet. I need to know the actual conflict.

7. Did Not Follow Directions

When writing a query letter or when submitting your writing, you have to follow directions. 

If you wanted a private critique, I asked you to put “private” in the title. I didn’t say to put it in the body. I also asked you to keep your submissions open so I could reply. Few people followed these directions.

It may seem nitpicky to complain about this, but you have to follow directions when submitting something. 

Some people ignore anything that ignores directions because they have a lot of submissions to get through and it’s an easy way to filter out people they don’t want a business relationship with.

Some people need certain words in the subject line so that submissions don’t end up in the spam folder or so the interns know which submissions to open.

Follow the directions. Show that you’re serious enough about writing that you took the time to read the directions.

8. Lack of Voice

Your letters need to have a strong voice. The mood and pacing needs to match the book. If you’re writing a query letter for a murder mystery, the voice should be suspenseful.

[incandescent-creativity]

The Five Elements of a Good Novel Pitch

If you guys haven’t heard about the Book Doctors, then what have you been doing with your writing life allow me to educate you. David Henry Sterry and Arielle Ekstut are a husband and wife couple who work closely with NaNoWriMo and are the authors of a fantastic book titled “The Essential Guide to Getting Your Book Published.” (get it and read it, it’s fabulous) These two wonderful people just did a YouTube livestream (it’s two hours long, watch it here) and at the tail end of it, David Sterry mentions the five elements of a really solid pitch…

Research: Make sure that any facts you use in your pitch (as a hook or that are relevant to your novel) are accurate. It sounds like common sense, but you might be surprised how so many details can get overlooked. Unfortunately, pitches are all about detail. Suffice it to say, if you’re writing a medical thriller, then you’ll want to have intimate knowledge of medical procedures.

Connection / Networking: One of the things that surprised me about pitching a novel is the “resume” part of a pitch. I thought that pitching was all about selling your book, but you have to sell yourself, too. If a well-known author has praised your book, mention that! If you’re writing a book for middle schoolers titled “How to Be A Loser 101″ then throw in a mention of how you were a loser for years and years (humor and connection. Double whammy). If you’re like me and you don’t have any credentials relevant to your story, then this humorous route may be the way to go.

Writing: A pitch should be under 250 words. Every word needs to count, needs to be chosen, needs to be the best word to sell your book and yourself. You need to take time, slow down, and really think. 250 is a lot less than it sounds, so try not to get discouraged and keep at it until you feel that you’ve really summarized the essence of your book. *Note: pitches for sci-fi and fantasy novels can be a little bit longer because they tend to need more buildup and explanation, but don’t go over 300. Just don’t.

Perseverance: Writing the right pitch can take a long time. Heck, it took the Book Doctors months to come up with theirs, but now they can recite it in sync, with hand motions (skip to 2:01:38 to see it!). Condensing an entire novel down to 250 words is hard, even without considering that those 250 are supposed to convey why your book needs to be published. But take it one step at a time, and most importantly…

Have fun with it! We all know that joy and passion should permeate our work, and that should be no different when it comes to your pitch. Let your pitch have style and humor and voice and cliffhangers, just like your book does.

Keeping all these elements in mind when you’re writing your novel pitch can be really helpful. And if you hit a wall? Step back, take a breath. Use your resources (like the Book Doctor’s video here or their book “The Essential Guide to Getting Your Book Published”).  And if you want to, send me your pitches! I’m not professional, but I’d love to hear about your guys’s books. Tag me in a post or send them to me in a message and I’ll help if I can! 

[lonelycryptidmedia]

Call for Submissions: Fireweed: Stories from the Revolution

[Click here to read on Wordpress instead.]

Lonely Cryptid Media is now accepting submissions for our new anthology: Fireweed: Stories from the Revolution. We are seeking submissions of poetry, short fiction, creative non-fiction, and visual art. We are interested in highlighting and elevating underrepresented voices of all kinds and we strongly desire work from artists and writers from marginalized groups including those from non-privileged racial, sexual, gender, national, religious, and ability backgrounds.

Theme

Art is one of our primary means of interacting with, and changing, the world. Since the 2016 election racism, fascism, sexism, and nationalism have taken on new prominence in the United States. These dangerous views are becoming more acceptable to express. Fireweed aims to combat these views by instead celebrating the work of marginalized artists and authors writing during this time of social change.

We accept all works related to the current political moment, whether explicitly or implicitly. Of particular interest are works which celebrate resistance, provide catharsis, imagine positive (and even utopic) futures, provide inspiration for activists and revolutionaries, and otherwise uplift us during a time of deep sadness. Works do not need to be specific to the context of the United States. Non-English works may be accepted on a case-by-case basis. We accept all genres, with a particular fondness for Speculative/Science Fiction, fantasy, mystery, and romance.

Submission guidelines

Submissions are open July 15th-August 15th 2019

Multiple submissions: Up to three works per creator may be submitted, however it is unlikely that we will purchase more than one from you.

Simultaneous submissions: You may simultaneously submit your work elsewhere. Please let us know ASAP if your work is otherwise accepted for publication.

Prose Submissions:

Prose submissions should be less than 4,000 words. There is no minimum number of words. Works may be fictional or creative non-fiction.

Poetry Submissions:

All forms of poetry are encouraged. Poems should be no more than 250 lines.

Visual Art Submissions:

All art suitable for 2D representation is welcome. Your work should be suitable for representation in black and white.

Note: We will be commissioning the cover art in a separate call. Please indicate if you wish to be considered for the cover art and include a link to your portfolio (either a personal website or a representative sample of your work on an image sharing site such as imgur).

Payment

Each work will receive a flat payment of $25 upon acceptance, plus 1% of sales in the first month. We are buying exclusive first publication rights*, first electronic rights, and archival rights. Your work will be compiled into a pdf available for purchase in our store.

*We may purchase one-time and reprint rights on a case-by-case basis, but we are focusing on first publication for this anthology. Please indicate if your works has ever been published in any market before. As always, you must have the legal ability to sell your work to us.

Along with payment, each contributor will receive a gratis pdf copy of the anthology.

Confused by all this talk of rights? Read here for more information: http://www.writing-world.com/rights/rights.shtml

How to submit

We are collecting submissions using Google Forms. Please follow the instructions in the link.

Other questions? Please contact Dan Fielding at [email protected] with questions. Please write “Fireweed Question” in the subject line of the email. Please do not submit work over email. Use the submission portal instead.

[concerningwolves]

A PSA to all writers, new or old

If you don’t look after yourself, your work will suffer. 

Embodying the tormented, enigmatic writer trope achieves nothing.

It’s that simple. Good mental health leads to better work; bad mental health as a result of bad self-care leads to low mood, lack of motivation, and eventually the proverbial hell of writer’s block.

Here are some ways to take care of yourself so that your work can flourish:

Take breaks. But Art, you say, if I do that, I’ll loose my train of thought! Don’t worry. This website is a literal lifesaver (and necksaver, and backsaver, and health-saver…). I’ve discovered that if I time myself in blocks of 25 minutes, I’ll remember to stop and check myself. Do I need a drink? Does my head hurt? Toilet? The best part is the summary box. If I do need to get up and make some tea or have lunch, I can jot down where I’m going next in the summary box, and then go off to sort myself out. When I come back, the ideas are still there, saved, and I can go onto the next timer.

Eat and drink properly. Take those crisps and stuff them back in the cupboard. If you’re hungry, eat healthy, light-but-filling food, to avoid feeling bloated and uncomfortable. Plus, brain food is an actual thing that is actually important. Sugary snacks or filling things like crackers can leave you feeling sluggish or mess up your concentration. Here are some healthy snack recipes you can prepare ahead if you want to have a long writing binge, and here are some quick ideas and alternatives:

nuts, unsalted

nut and fruit mix

apples, bannanas, oranges

a fruit smoothie

raisins or other sundried fruits like cranberries or sultanas.

Dark chocolate with a high cocoa content (have this with some fruit like grapes or rasberries. Milk/white chocolate are sugary, but the cocoa in dark chocolate boosts your focus)

Toast with a savoury spread: peanut butter, marmite, butter or honey.

Also remember a good breakfast, or as good as you can manage, and don’t skip meals. All you achieve is low blood sugar, irritability, lack of motivation, sleepiness and headaches. This can have some real impacts on the quality of what you produce. I’ve found that it can also influence the mood of what you’re working on: sad scenes become fully miserable, and happy scenes wilt.

Stretch and bend. Here are some stretches for your back, because sitting writing all day can lead to some really nasty cramps and stiffness. Remember to sit with good posture, so that your neck is straight and your keyboard is level with your elbows; if you start getting a headache, stop. Get a drink. Roll your neck, gently, and practise semi-supine until the pain lessens and you can continue working, after adjusting your laptop/chair/computer to a more comfortable position that allows your head to be up and your spine leant backwards slightly from the work surface.

Movement. You’re allowed to get up and go for a walk. In fact, you need to. Heck, you could even run up and down the stairs or on the spot, or windmill your arms, or just give yourself a thorough shaking. It doesn’t matter, as long as you get your heart-rate up again; a slower heart rate can make you sleepy. Fresh air is great though, and should never be underrated; it clears your head, gets you moving, wakes you up, and sunlight gives you vitamin D and cheers you up. Besides, outside means people, and people watching helps your character developmnent and general writing in multiple ways (I’ll be making a post on that soon). Bonuses all round.

Get some sleep. Practise sleep hygeine and do your best to use a sleep schedule. Not sleeping gets you nowhere.

Finally, manage how you break. I initially started using this as advice for people who needed motivation studying, but it’s also so, so true for writing. Stay away from TV, Youtube, Netflix and all other visual or social media. That stuff sucks you in, stops your brain stimulation, and basically zombiefies you because it’s such a good way to procrastinate without using any brain power. Instead:

take a walk

read a book

cook or bake (maybe make yourself one of those healthy snacks)

clean or organise something

meet up with a mate

chat with a family member, if you like your family

Do some excersise. 

meditate

use lunch and dinner as break points

draw, doodle, paint or splash some ink onto some paper. Or origami. Something creative that isn’t writing, basically.

That’s it for this post. Take care of yourself and may your projects go well!

[haiku-robot]

that’s it for this post take care of yourself and may your projects go well

^Haiku^bot^9. I detect haikus with 5-7-5 format. Sometimes I make mistakes. Humans® are needlessly sweaty (・A・) | PayPal | Patreon

[septembercfawkes]

15+ Tactics for Writing Humor

A monster-length master list of over 15 tactics for writing humor, with examples from The Office, Trigun, Diary of a Wimpy Kid, Emperor’s New Groove, The Fault in Our Stars, Harry Potter, Pink Panther, The Series of Unfortunate Events, Elf, Enchanted, The Amazing Spider-man, and more. Be prepared to laugh.

(Please note that this article is best read on my off-Tumblr blog here so that you can watch the videos that go along with it, embedded into the post. Otherwise, enjoy reading it right here, with links to the videos.)

Introduction

I’ve been to a few workshops on writing humor, and I’ve read about writing humor, but the funny thing is, none of them really taught me how to actually write humor. But yet they all said the same thing: Writing humor is hard, harder than writing seriously, because if you fail at humor, you fail horribly.

I heard it so much, it made me fear failure rather than strive to develop that writing talent. For years I avoided writing humor, period. But the catch to that is that I also often hear how humor is a huge draw for an audience.

I read recently in Showing & Telling by Laurie Alberts that humor is hard to teach and that some writers believe it can’t be taught at all. If you know these writers, send them to this post, send them to this post, or send them to this post about why the concept that writing can’t be taught is bullcrap.

People think writing humor can’t be taught because they don’t know how to teach it. Some people can write humor, but can’t teach it. They don’t know how they are funny because it’s just intuitive and natural to them. I was at one workshop on humor, and the only “how-to” tip they gave was that humor had to just come up naturally in the story. But professional comedians slave away and work their butts off writing their jokes, and then practicing them. That’s not natural. Sure, some comedians do improv (Whose Line is it Anyway? was one of my favorite shows), so they’re more natural, but I believe most comedians have to work to be funny.

Look at shows like The Office. Those writers obviously know how to write that kind of humor. And they use some of the same humor techniques over and over–that’s not just happening, that’s planned out. It’s formulaic. Look at the Marvel movies. They have their own style of humor too. I once read an interview with Jeff Kinney, author of Diary of a Wimpy Kid, in it he talked about how insanely difficult it is to come up with jokes sometimes.

So yes, writing humor can be hard. But it’s not impossible. After all the (non)advice I got on writing humor. (Sure, some of them did mention one or two humor tactics, but not how to do them) I decided to take it into my own hands. So I’ve studied humor on my own, and I’ve made my own “How to Write Humor” article that actually tells you (or rather myself) HOW to write humor.

It’s not all-encompassing by any means. And I’m still learning. And note that you might have a different sense of humor than me, but you should be able to revamp most, if not all, of these tactics to suit you. Some of the tactics I will talk about today overlap each other, so one example might actually fit into several of these categories.

15 Humor Tactics

Overstatements and Exaggerations

An overstatement or exaggeration is playing up something–making something seem bigger than it is.

Humor articles I did read said exaggeration or overstatements are a no-no, and then go on by giving examples like “My room was so messy, it looked like a bomb had gone off.” Well, guess what? That’s just a bad example. It’s cliche. And just… blah. (I’ll explain why it doesn’t work in a second.) The articles are right, don’t write that one! But the articles are wrong in saying that there are no good exaggerations. That’s not true. There are loads of good exaggerations and overstatements. Most parodies and spoofs are exaggerations.

Keep reading

[brynwrites]

Something to repeat to yourself in the shower:

My stories are not for everyone. 

My stories will bore some readers. Some readers will hate them. Some won’t understand, won’t connect the dots, won’t relate to the characters. Some won’t because they can’t, some won’t because they don’t want to, but most won’t simple because my stories just aren’t for them.

My stories aren’t for everyone.

My stories are for me.

And they’re for the readers who will love them. They’re for the reader who have already loved them. For the readers who will see what I see in them and feel the characters and the world the way I do. They’re for the readers who wanted these stories before they even knew they existed. They’re for the readers they’ll make smile, the readers they’ll stick with, and the readers they’ll save.

And just because my stories aren’t for everyone doesn’t make them worth any less to the people they are for. 

Not everyone likes butterflies. Not everyone likes spiders. But the people who love those creatures more than anything else would lose a part of themselves if they didn’t exist. 

So no, my stories are not for everyone. But that doesn’t matter. 

Because they’re for someone, and to that someone, they’re irreplaceable.

[transphoriaanthology]

CALL FOR POETRY SUBMISSIONS BY YOUNG TRANS POETS

Who: Poets who identify as trans, genderqueer, agender, non-binary, intersex*, 2S*, gender non-conforming, or any variation of the above (including gender-nonconforming identities that exist outside of the United States/Canada that are not explicitly mentioned here), who are 21 and younger.

What: An anthology of poetics** that tell stories of trans euphoria, resilience, becoming, hope, survival, dreaming, prospering, thriving—stories that unsettle or resist (not deny) the dominant discourses and ideologies of transness as defined by dysphoria.

When: The deadline for submissions is June 1, 2018.

Where: Submissions may be sent to [email protected] or submitted to www.transphoriaanthology.tumblr.com

Submission details:

-Please submit a maximum of 5 poems (if sending over email, please attach as Word Documents or paste into the body of the email). 

-Please include a brief bio or statement of poetics (<300 words) that includes the name you’d like to be published under, an email address where you can be safely reached, and where you fall on the trans spectrum (if you’d like).

*We recognize that intersex and Two-Spirit (2S) identities are not synonymous with being trans (though intersex and 2S people may also identify as trans to some degree). Because intersex people, trans people, and Two-Spirit people are all marginalized under the settler state’s rules about gender, sex, and the bodies that may/may not generate both/either, the editors want to carve out specific spaces in this anthology that includes intersex and 2S creators, while recognizing that while our stories and identities may be different, our futures and liberations are very much entwined and interactive.

**We have no formal requirements for this anthology. Any work identifying itself as a poem will be considered. We encourage hybrid/experimental submissions.

Editors: The editor(s) are MA/MFA candidates in the English department at Western Washington University, located on the land of the Lummi and Nooksack nations in what is now known as Bellingham, WA. This ebook is being curated as part of the MA/MFA curriculum.

[transphoriaanthology]

Seven submissions just a few hours later!! Thank you so much to everyone who has reblogged!!

[transphoriaanthology]

Please note: This is not a platform looking for the “best” poets to publish. This is a platform looking to give all young trans poets a voice who are seeking one. We want to publish as many submissions as we receive, not weed through them looking for poetry we deem “good enough.” Please submit!!