#randy ingermanson

[nessauepa]

"Every scene in your story needs to move your reader’s emotions. You can’t afford to have any scenes that don’t."

[davidjhiggins]

Oxygen by John B. Olson & Randy Ingermanson

Olson and Ingermanson blend crisply realistic astronautics with the untidiness of human emotions, creating a thriller about people who must—yet cannot—trust each other if they want to survive. Continue reading Oxygen by John B. Olson & Randy Ingermanson

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[lesbianinsuspense]

Novel Update

This is my second time attempting to build up a novel plot with The Snowflake Method by Randy Ingermanson (the first time I didn't even get past step 2 simply because I wasn't much interested in the story and I was putting a lot of pressure on myself to make everything as perfect as possible).

Currently, I'm working on step 4 (yay! halfway through!); sometimes I have to step back and just stare at the ceiling trying to figure out how to make things more dynamic, interesting, or just make sense in my head.

My novel is very much inspired by gothic literature, and the most challenging (but fun!) part of it is that, unlike Lovecraftian narratives, everything has a reason; in Gothic literature, you're not left wondering so much about the why, but the how and when.

So yeah, I'm on step 4 and I'm trying to figure out how and when the gothic elements of my story are supposed to happen. This time around I'm just trying to have fun and see where all this world-building takes me!

[laurencekaijin]

7 passos do método floco de neve resumido

existe esse cara chamado Randy Ingermanson e ele tem um método onde você tem uma idéia bem básica e vai desenvolvendo ela, colocando mais detalhes e mais detalhes e depois mais detalhes como se você estivesse esculpindo uma estátua a partir de um bloco de pedra ou fazendo um desenho a partir do esboço, ou tipo o perímetro de um triângulo que vai ganhando mais triângulos até parece um floco de neve único e especial. Primeiro passo," crie em uma hora, uma sinopse de uma frase sobre a sua história", normalmente a gente chama isso de logline e basicamente criamos um personagem principal e conta o que acontece com ele, algo tipo um jovem herdeiro de uma fortuna ver os seus pais serem assassinados e decide combate o crime, segundo passo," expanda essa frase em um parágrafo em uma hora", descrevendo a premissa, os maiores desastres e o fim, ele pede para você descreve os piores desastres porque segundo ele ver histórias como três desastres e um final e nas palavras dele," se você acredita na estrutura de 3 atos, o primeiro desastre corresponde ao final do primeiro ato. O segundo desastre é o meio do segundo ato e o terceiro é o fim do segundo ato, que força o terceiro ato, resolvendo tudo"," tudo bem se o primeiro desastre for causado por circunstâncias externas, mas (...) o segundo e terceiro desastres devem ser causados pelas tentativas do protagonista de consertar as coisas", e isso tudo com apenas 5 frases. Terceiro passo," faça a mesma coisa para os personagens"," personagens são a partir mais importante de uma história e o tempo que você investir desenvolvendo eles previamente vai valer 10X vezes mais quando você começar a escrever", basicamente use uma página com o nome do personagem, o arco desse personagem, o que ele quer, o que ele precisa, o que o impede, como ele muda e evolui. Quarto passo," transforme as 5 frases em 5 parágrafos", aproveite para revisa a sua história e resolver todos os problemas de lógica," isso é bem divertido, e ao final você vai ter um ótimo esqueleto(...) da sua história". Quinto passo, escreva uma descrição de uma página para cada personagem importante", escreva quem eles são? O eles querem? Como eles se comportam? Porque eles são assim? O Que acontece com eles? O que eles se tornam? Basicamente," use um dia ou dois e escreva uma descrição de uma página para cada personagem importante e um de meia página para cada personagem relevante. Essa descrições devem conta a história do ponto de vista do personagem"," ultimamente eu tenho usado os resultados desse estágio nas minhas propostas [para editoras] ao invés de uma sinopse com base na estrutura da história. Editores adoram sinopse baseada em personagens, porque editores adoram ficção baseada em personagens". Sexto passo," use quando tempo você quiser para descrever tudo sobre os seus personagens". Sétimo passo," senta lá e escreve",

[mumblingsage]

The most common reasons for predictable plots:

Weak research: if you haven’t researched your story world well enough, you’ll fall back on what “everybody knows,” which is usually what everybody learned from watching thousands of hours of TV. And TV is a bad way to learn about cops, or doctors, or scientists, or priests, or just about anything. TV is Cliché City. The solution? Do more research on your story world. Find out so much that you won’t rely on the obvious plot twists you learned on TV. You’ll come up with something new.

Weak setbacks in your scenes When your character hits a setback, she’s forced into a dilemma. This needs to be a real dilemma with no good options. If you leave them any good options, then both they and the reader are gong to see it--and the reader will probably see it first. To solve this, strengthen your setbacks. Box in your characters tighter. Reduce their options.

Weak values for your characters: Your characters become unpredictable when they have a conflict in their underlying values—the core truths they believe about the world. If your characters are predictable, then you can solve this by giving them values that conflict, forcing them into tough moral dilemmas. They’ll make choices that your reader can’t predict, because they’ll make choices that you can’t predict. Your characters will start acting like they have a mind of their own. Let them. Be surprised.

-Randy Ingermanson, Writing Fiction for Dummies

[smorgasbordinvitation]

Smorgasbord Posts from Your Archives – Summer 2020- Pot Luck - #BookReview - A Snowflake in July by Abbie Johnson Taylor

Smorgasbord Posts from Your Archives – Summer 2020- Pot Luck – #BookReview – A Snowflake in July by Abbie Johnson Taylor

Welcome to the current series of Posts from Your Archives… and I will be picking two posts from the blogs of those participating from the first six months of 2020. If you don’t mind me rifling through your archives… just let me know in the comments or you can find out the full scope: Posts from Your Archives – Pot Luck – 2020

This is the second post by Abbie Johnson Taylorand this week I am…

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[sallygcronin]

Smorgasbord Posts from Your Archives – Summer 2020- Pot Luck - #BookReview - A Snowflake in July by Abbie Johnson Taylor

Smorgasbord Posts from Your Archives – Summer 2020- Pot Luck – #BookReview – A Snowflake in July by Abbie Johnson Taylor

Welcome to the current series of Posts from Your Archives… and I will be picking two posts from the blogs of those participating from the first six months of 2020. If you don’t mind me rifling through your archives… just let me know in the comments or you can find out the full scope: Posts from Your Archives – Pot Luck – 2020

This is the second post by Abbie Johnson Taylorand this week I am…

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[avari20]

What to do when you’re struggling with Nanowrimo

Okay, after slamming my head metaphorically against my story today, I decided to stop and reread notes I’ve taken of various Writer’s Help books. Here’s what got the words flowing.

Randy Ingermanson (Snowflake method dude) in How to Write a Dynamite Scene.

-Your character wants to have/be/do something. 

-This character is in a fucking CRUCIBLE. He/She/They are going through some tough shit. The thing that they want to be/do/have WHATEVER? That’s their story goal. The CRUCIBLE is why they can’t have it. They’re gonna work for that. 

-Make them work. How? Write good scenes. HOW?

A) every scene is either Active (starts with a goal, faces obstacles that create conflict, and ends (mostly) with setbacks) or Reactive (character reacts to that setback, considers the options, then ends with a decision)

B) every scene, Active or Reactive, has a mini Crucible. 

C) every scene is a mini story, with a beginning, a middle, and an end. 

D) the scene doesn’t end until your character breaks out of the Crucible, whether by succeeding or failing to achieve their mini goal or by committing to a decision that propels them into the next scene. 

Go forth and write, my pretties. 

P.S. Anybody want to be buddies on the Nano site?