#writing lesson

[preraphaelitepaintings]

The Writing Lesson

Artist: James Collinson (English, 1825-1881)

Date: 1855

Medium: Oil on panel

Collection: Private Collection

[scareuary]

Writing Question #2

In a horror story revolving around a twisted romance/love, how would you use or apply different story-writing techniques to create different effects in your story? (Symbolism, foreshadowing, repetition, imagery, voice, etc.)

SCAREUARY 2025 - TWISTED HEARTS

[doubleaspectrum]

Sonic Heroes: A Lesson in Romance Dominating Characterization

So, I recently completed the story of Sonic Heroes. And I had a good time, some parts were hard, others easy, but overall, a good time. Though, there was one thing in particular I can’t help but get annoyed about. It’s how they handled Amy’s character.

I can sum up pretty easily what the problem is.

When I see that image, you know what comes to mind for me? What comes to mind is that the two mobians with Amy have lost their beloved pets, and Amy is currently facing down Suspect #1 to bully him into marriage. I don’t see a cute or funny moment; I see Amy putting herself above her friends.

The problem is about personal matters dominating some greater good. It would be like if a superhero made a point of letting a large group of civilians die, especially if it was to save their romantic partner elsewhere. For anyone that believes that “the needs of the many outweigh the needs of the few,” that kind of choice is morally abhorrent. The hero just ends up looking selfish for choosing something personal over the lives of others.

And honestly, I don’t want to be seeing Amy in that light. I don’t want to be seeing any heroes in that light, or any relationship in that light. Heroism and love should be a demonstration of inner goodness, but when it stops being that, then it turns into, at best, toxicity, or at worst, outright villainy.

And I can see how to fix this. Here’s a lesson on how to avoid letting romance dominate characterization, using Sonic Heroes as an anti-example.

Now, the solution to this is actually pretty easy. If romance is dominating the totality of a character, then the solution is to tone it down, or remove it entirely.

All you have to do is let the character show their other aspects by focusing on anything else. Honestly, it’s the “anything else” that really builds a character best. Characters can have: personal goals, personal problems, platonic relationships, a life outside of their beloved; you can use pretty much anything that can generate drama that isn’t reliant on romance.

And there isn’t a shortage of things for Amy to do in Sonic Heroes.

The first option is to focus on Amy being a team leader. With her wishing to be stronger and more involved in adventures following SA1 and SA2, it’s a chance to show what she’s made of. And with the leadership position, it would give us a chance to see how she forms relationships with her teammates. In the game, they don’t give an explanation on why those three teamed up. Their story could focus on that! The Team Rose campaign could take the path of an origin story, showing the Team becoming heroes!

The second option is to have Team Rose run into Team Dark. With Amy being instrumental to Shadow’s redemption in SA2, and Shadow not remembering anything, this is a prime opportunity for drama! There could be major emotional responses on both sides! Especially if they end up coming to blows! Heck, it would help in adding drama to the “Is Shadow real?” subplot. All they’d need to do is handle Shadow’s response carefully. If left open enough, it could have led to more fuel for fan theories to run on!

One last option is to redefine Amy’s goal. Amy doesn’t have to be avoiding Sonic to demonstrate more to her character. In fact, the story opens an opportunity to best show how she sees Sonic. As far as I could see in the story, Cream and Big seem to genuinely believe that Sonic kidnapped their pets, but what about Amy’s reaction? Throughout the original story, Amy never gives an opinion on if Sonic is the kidnapper or not; she only chases him in the name of her “love,” and that’s actually pretty jarring.

Shouldn’t Amy be having more of a reaction to the accusations against Sonic? It doesn’t even have to necessarily be about her crush, it can be about showing how well she knows him or what she believes about him.

Here’s what I mean. If Amy gets confronted by accusations that Sonic has been committing kidnappings, then how she responds will give her character a goal.

If Amy believes Sonic is innocent, then her formation of Team Rose becomes an effort to keep an eye on the teammates who believe he’s guilty, and try to prove to them that Sonic is innocent by taking charge of the search. It can also complicate the teammate’s relationships if their team is stuck arguing about what they think is true. But it also opens them to develop their friendships as their efforts lead them closer to finding Chocola and Froggy.

On the other hand, if Amy buys into Cream and Big’s accusations, then it recontextualizes Team Rose into an anti-Sonic posse. It also opens an opportunity for Amy to realize how little she knows about Sonic when his innocence is proven. And that can in turn open the opportunity for Amy to seek real opportunities to get to know Sonic better, thus leading to a healthier relationship development.

To sum it all up, romance isn’t the only way to get good drama out of your story. In fact, an overreliance on romance can overshadow any other points that can cause meaningful drama. So, don’t rely on romance to cover your story or your character. Take a moment to look at it critically, and ask yourself, “What else could my character be doing?” and the follow-up question, “Will doing this give us more drama?”

If you’re going to take one thing away from this post, then I’ll encourage you to remember that meaningful characters and meaningful people aren’t limited to their relationships, so don’t place those limits.

[bishopsbox]

source: bishopsbox

Robert Braithwaite Martineau (British painter, 1826 - 1869), Kit's Writing Lesson, 1852.

Robert Braithwaite Martineau (pintor británico, 1826-1869), La lección de escritura de Kit, 1852.

[dumpster-fire-deluxe]

Greatly recommend this class on writing short stories (and this entire lecture series in general)!

Some of the things that are discussed:

MICE: 4 types of story threads

How to open and close your story in a satisfying way

Exercise: write a 250-word story (step-by-step + instructions)

How to calculate how many words your story might become

Many tips are also applicable to longer stories. And since fanfic one-shots are technically a form of short story, these tips can be very useful there as well.

[davidfarland]

Over twenty-five years ago I began editing professionally. I began by doing volunteer work as an editor for literary magazines, but my first job was for Brigham Young University, where I helped professors raise their work to publishable levels. Many of the people I worked with were scholars with tremendous expertise in their field of study but often they were not practiced writers. Some of them weren’t even native English speakers. So I helped edit articles, textbooks, history books, self-help books, novels, short stories, pamphlets and funding proposals.

Later I went on to editing technical manuals, and from there moved into fiction editing—both short stories and novels. Even when I'm not editing professionally, a day doesn’t go by that I don’t exercise my skills in one way or another.

The past few years, I’ve taught workshops on “Novel Editing.” In the workshop, I edit the first 100 pages of one's work, then teach novelists who are seriously trying to break into the market.

Here are some key points that I wanted my writers to take away.

In most writing groups, authors get a lot of feedback on the errors in their work, but don’t get much feedback on how to actually improve it. As a result, new authors focus on eradicating errors. So what they end up with is a novel that is pretty much unobjectionable. But that’s rather damning. You don’t want to be “okay,” you want your work to be great.

If you want to apply to become an Apex writer, simply send an email to [email protected] with the word APEX.

So in your rewrites, take the opportunity to add as many virtues to your work as possible.

Does your novel suffer from weak descriptions? In your first pass, put those descriptions in.

Would your work benefit by having stronger hooks at the opening to each chapter? Make a pass and put in some great hooks.

Could your novel be better if your character had a more distinctive voice, or if you showed more internal dialog? You can make your novel better in each pass.

Do you need to make your characters more decisive, or show their internal pain? Those can be handled in editing passes.

The truth is that there is so much to do to write a good novel, that many novelists find that it is better to focus on it in several passes, in just the same way that a painter creates a masterpiece by laying down the paint in a dozen layers, letting each one dry before working on it again.

Sure, you might find some weaknesses when you’re editing, but you should be more concerned with adding virtues.

Some authors naturally do one or two things really well. For example, Shannon Hale has a gift for creating gorgeous metaphors, and her use of language is lyrical and beautiful. Tolkien had a gift for world creation that was pretty much unequaled at his time. Orson Scott Card is fantastic at creating gripping arguments, showing penetrating insights into his characters’ conflicts. I love George R. R. Martin’s excellence at creating resonance, or Patrick Rothfus’s command of voice, or Dan Well’s control of tone and his gift for finding fascinating ideas.

But in order to become a bestseller, you normally have to develop a number of skills. On a scale of one to ten, you might look at yourself and ask, where am I? Am I at a five when it comes to creating character voices? Am I only at a one when it comes to world creation? Does my work completely lack hooks or foreshadowing?

If you’re average in most ways but manage to excel in two or three, editors will find you to be publishable. In fact, if you’re excellent at three things, it creates a pattern of excellence, and you’ll probably become a bestseller. That’s all that it takes.

Given that, when I’m editing, I try to work on developing new talents. For example, I might decide that I want to be at least a nine when it comes to creating hooks. Or maybe I’ll try to develop my themes to the point that I can honestly say, “I’ve never seen anyone handle this theme as well as I just did.”

I wish that I could say that there are great editors who can help you reach your loftiest goals. Maybe there are, but they probably don’t work in major publishing houses. Too often, editors for the houses don’t have much real training. Some went into the field with the goal of working as an editor, but I’ve worked with a number who came in from the secretarial pool. I recall one editor who didn’t like reading. Another had never read anything in the field of science fiction when she started, and so asked me for a list of the classics.

An ideal editor, I think, would need to have a profound understanding of story. She or he would have studied with great writers, read widely in literature, and she’d prosper due to her ability to take good writers and help turn them into great ones.

Most of the editors that I’ve worked with aren’t writers. They may be good readers and even good critics, but they have no experience with actually creating stories, and I think that can be a weakness.

So what does a writer do? Just hoping that you’ll find a great editor isn’t quite enough. You’ll have to find your own wise readers and critics and learn from them. For example, if you find a writer that you admire, you might look on his or her web site and see if the author has any articles that might enlighten you as to how to better your own work. You might even take a class, if the author is teaching at a local convention, and arrange to take that writer out to lunch in order to glean some private advice.

Similarly, there are plenty of great books on writing, and for a small investment, you get hours worth of thoughtful instruction on the topic of your choice from an expert in that field.

Beyond that, look for people with expertise and invite them to join your writer’s group, or perhaps become a reader. If you look at Tolkien and Lewis, I have to wonder if either would have succeeded so well without the Inklings. Tolkien was a great world creator. Lewis was the pre-eminent master of theme. Each of them, I suspect, pushed the other to greater heights.

Look for people who can push you in the same way.

It is possible to hire editors, of course, and if you’re self-publishing, you should. Some professional fiction editors take on part-time work--after all, the field is notorious for its low pay. You can find people listed in the back of Writer’s Digest, or advertising online. You can also go to your local newspaper or to a magazine and find people. It isn’t usually enough to hire one editor—I often use three. Even after all of my years of practice (and in my performance reviews, I was told over and over again that I am a sensational editor), I still don’t capture my own typos. No one does.

Just as importantly, work on finding volunteer readers for your books. If you’re writing fantasy, see if you can find a few fans that would take a look at it and give an honest opinion. If you’re writing for children, check with an English teacher at a nearby school to see if you can find some volunteer readers. Don’t think that just because you haven’t published, people won’t be interested. The fact is, most people will be very enthusiastic in their response.

Need More help? I'm a New York Times Bestselling author with over 60 books published.  I've put together a bundle of all my writing courses for a special price here.

[quo-usque-tandem]

Writing Lesson by Samuel Joseph Brown

[reverieblue98]

5 Min Grammar Lesson: Conjunctions

Conjunctions are the key to turning simple sentences into complex ones! They help make your writing clear and descriptive at the same time, so make sure you know how to use them!

Conjunctions are words that join simple sentences to make them more complex and mature. They help clarify your writing and allow for well-placed descriptions! There are two types of conjunctions, and they both have separate rules.

Coordinating Conjunctions 

These joining words require a comma before them. I like to use the acronym FANBOYS to help me remember which conjunctions fall under this category.

F - for, A - and, N - nor,  B - but, O - or,  Y - yet, S - so. 

✔She was done, so she left early.

❌She was done so she left early. 

These need commas before them, or else they are not correct! I know “and” may seem a little funny, but it traditionally has a comma before it, especially when listing things. Remember that a comma is a breath, so if you read your work and find yourself without any place to breathe in a sentence, you probably need to add one! 

Subordinate Conjunctions 

These ones are a little more tricky, as there are some grey areas. Almost all subordinate conjunctions do not need a comma before or after them (depending on the placement), but will need two full sentences to connect. In this example, I’m connecting two simple sentences: “he worked out”, and “he was tired”. 

✔Because he worked out, he was tired. 

✔He was tired because he worked out. 

❌Because he worked out.  

❌Because he was tired.

In the first example, the order is conjunction, simple sentence, comma, simple sentence. This conjunction sort of acts as a dependent clause in that it has two complete sentences after it, separated by a comma. 

In the second sentence, the order is simple sentence, conjunction, simple sentence. This more directly connects the two sentences, and does not need a comma. Note that I needed to rearrange the format for it to make sense. 

The last two are wrong because they are sentence fragments. It would be fine if they were a reply to someone's question, but on it’s own as a statement it’s not complete. Conjunctions are used to connect to sentences, but in those examples there is nothing to connect. 

In summary, do not use a conjunction unless you mean to connect two complete sentences together, and separate the two simple sentences with a comma if you place the conjunction at the beginning. 

Anyways, I hope that helped you out! Conjunctions can be a little tricky, but they are super important if you want to improve your writing. Like I said, there are some grey areas. If you’re ever unsure, look it up! Google is your friend. Happy writing!

-RB