#novel*

[literaryvein-reblogs]

A Writer on Writing: John Rechy

John Rechy:

The three most often repeated “rules of writing,” recited by rote and left uninvestigated and unchallenged in virtually every writing workshop and English class are capable of doing terrible damage to good writing. The Terrible Three are:

Show, don’t tell.

Write about what you know.

Always have a sympathetic character for the reader to relate to.

Show, don’t tell.

Nonsense. Good writing involves “showing”--that is, dramatizing--as well as “telling”--employing exposition.

An avoidance of “telling” may convolute clear motivation (exemplified by “showing”).

It compromises setting. It obfuscates situation.

We do not speak of “story-showing”; we speak of “storytelling.”

The effect of “scenes”--showing--may be created through refined “telling”

A good way to add life to exposition is to capture a dramatic moment, to hear someone speak, see someone move, act--yes, show--since time is the accumulation of moments.

Write about what you know.

Many great works of art would never have been written had the author restricted himself to what he “knows.”

The good fiction writer relies primarily on imagination, not information, not investigation.

The writer doesn’t deal with “reality.” He deals with verisimilitude.

A better admonition: Write about what you feel. Too lofty.

Write about what you feel you know. Too elevated.

This is it: Write about whatever you want.

Always have a sympathetic character for the reader to relate to.

In Greek tragedy, just as in popular bestsellers, the most villainous and unsympathetic characters are the ones we remember...

...it is instantly apparent that the author despises every one of her characters, and so does the reader, but one reads on.

Despicable, awful, frightening--but fascinating. That’s the key: Fascinating. Write about characters, good or evil, who fascinate.

Excerpts from the article, "When Rules Are Made to Be Broken"

[alysongreaves]

KIMMY

...is finally done! You can read the whole book now—including the final, just-released chapters—on my Patreon for just $3, or you can preorder the Amazon release here. (Amazon will have a paperback version on launch, and the epub will be available from Itch.io and other retailers.)

[zamanfoyy]

(Έχω ένα θέμα με το τέλος με φοβίζει και με αγχώνει)

[llama-from-spain]

Istg I just discovered The Glass Scientists *LAST NIGHT* and I got up to date in about a few hours only!

I've consumed this comic like a drug, damn. (Thanks to my new hyperfixation of Jekyll and Hyde lol (taking on a goth liter. class does that to you I guess🤷‍♀️))

ANYWAYS- i saw someone's post minutes ago and how the comic is apparently 2 chapters away from the end????

I'm like- no... please no... IVE ONLY JUST FOUND THIS GEM!!!!

(Also you can bet I'm about to buy the volumes, holy shii)(library near the uni can order them!!!💜💜💜💜😍😍😍😍😍🤩🤩🤩🤩🤩)

Anyway I am in love with Jekyll/Hyde, and the big mess they (he?👀) are!

The text from Stevenson was too short for my liking, but the internet has always got the back of the fandoms; and bless their souls for that!!

May you have clear skin, your crops watered, and both sides of your pillows fresh!

Anyway, this is a TGS appreciation post in case you didn't notice ;)

Big love to @arythusa and the whole team that created this magnificent work of art!

Mhua💜

[zayatshh]

[xxautumnivyxx]

A Lonely Broadcast Station is back soon.

[sanggapahhhh]

Ada yg nk jugak pm la .bgi gmbr and cerita fantsy and dpt la satu novel sedp di baca

[literaryvein-reblogs]

more "troublesome" words

adverse, averse

Averse - reluctant or disinclined (think of aversion)

Adverse - hostile and antagonistic (think of adversary)

allay, alleviate, assuage, relieve

Alleviate - should suggest giving temporary relief without removing the underlying cause of a problem. It is close in meaning to ease, a fact obviously unknown to the writer of this sentence: “It will ease the transit squeeze, but will not alleviate it” (Chicago Tribune).

Allay and assuage - both mean to put to rest or to pacify and are most often applied to fears

Relieve - the more general term and covers all these meanings

ambiguous, equivocal

Both mean vague and open to more than one interpretation.

But whereas an ambiguous statement may be vague by accident or by intent,

an equivocal one is calculatedly unclear.

amid, among

Among - applies to things that can be separated and counted, amid to things that cannot.

Rescuers might search among survivors but amid wreckage.

amoral, immoral

Amoral - describes matters in which questions of morality do not arise or are disregarded;

immoral - applies to things that are evil.

antecedence, antecedents

Antecedence - means precedence;

antecedents - ancestors or other things that have gone before.

antennae, antennas

Either is correct as the plural of antenna,

but generally antennae - preferred for living organisms (“a beetle’s antennae”)

and antennas - for manmade objects (“radio antennas made possible the discovery of pulsars”).

anybody, anyone, anything, anyway, anywhere

Anything and anywhere - always one word.

The others are one word except when the emphasis is on the second element (e.g., “He received three job offers, but any one would have suited him”).

Anybody and anyone - singular and should be followed by singular pronouns and verbs.

A common fault is seen here:

“Anyone can relax, so long as they don’t care whether they or anyone else ever actually gets anything done” (Observer).

So long as they gets anything done?

The problem, clearly, is that a plural pronoun (they) is being attached to a singular verb (gets).

Such constructions may in fact be fully defensible, at least some of the time, though you should at least know why you are breaking a rule when you break it.

avenge, revenge

Generally, avenge - indicates the settling of a score or the redressing of an injustice. It is more dispassionate than

revenge - indicates retaliation taken largely for the sake of personal satisfaction.

a while, awhile

To write “for awhile” is wrong because the idea of for is implicit in awhile.

Write either: “I will stay here for a while” (two words) or “I will stay here awhile” (one word).

awoke, awaked, awakened

Two common problems are worth noting:

Awoken, though much used, is generally considered not standard. Thus this sentence from an Agatha Christie novel (cited by Partridge) is wrong: “I was awoken by that rather flashy young woman.” Make it awakened.

As a past participle, awaked is preferable to awoke. Thus, “He had awaked at midnight” and not “He had awoke at midnight.” But if ever in doubt about the past tense, you will never be wrong if you use awakened.

Source More: On Grammar & Vocabulary

[basicallyanotherwitchesthing]

Ruth Wolff - Hawthorne - Paperback - 1969 (cover illustration by George Ziel)

[ehyehyhwhh]

[flowerytale]

Celeste Ng, Little Fires Everywhere

[tomcruisingthroughlife]

[theoptia]

Carmen Laforet, from Nada

Text ID: My chest was heavy with a thousand daydreams and memories.

[krossan]

Redwall art envisioned as an 80's animated film look. (Milt Kahl / Don Bluth) --- I know nothing abt Redwall. I havent read the books and know very VERY little of its lore. Years ago I remember seeing a tv series but never finished it.

[thewriteadviceforwriters]

10 Ways to Add Sizzle to Your Boring Writing

Writing that sizzles captures the reader's attention and keeps them engaged from start to finish. Whether you're an experienced writer or just starting out, there are several techniques you can use to make your writing more exciting and dynamic. Here are ten detailed ways to add sizzle to your boring writing:

1. Use Vivid Descriptions

Vivid descriptions bring your writing to life by creating a rich, immersive experience for the reader. Instead of relying on generic or bland language, use specific details that appeal to the senses. Describe how things look, sound, smell, taste, and feel to paint a vivid picture.

In Detail:

Visual Descriptions: Use color, shape, and size to create a mental image. Instead of saying "The car was old," say "The rusty, olive-green car wheezed as it pulled into the driveway."

Sound Descriptions: Incorporate onomatopoeia and detailed sound descriptions. Instead of "The music was loud," say "The bass thumped, and the high notes pierced through the night air."

Smell and Taste Descriptions: Use sensory language. Instead of "The food was good," say "The aroma of roasted garlic and herbs filled the room, and the first bite was a burst of savory flavors."

2. Show, Don't Tell

"Show, don't tell" is a fundamental writing principle that means revealing information through actions, thoughts, dialogue, and sensory details rather than straightforward exposition. This approach makes your writing more engaging and allows readers to experience the story.

In Detail:

Actions Over Exposition: Instead of telling the reader "Jane was scared," show her fear through her actions: "Jane's hands trembled as she fumbled with the lock, her breath coming in shallow gasps."

Dialogue: Use conversations to reveal character traits and emotions. Instead of "John was angry," show his anger through his words and tone: "John's voice was a low growl as he said, 'I can't believe you did this.'"

Internal Thoughts: Reveal characters' inner worlds. Instead of "Emma felt relieved," show her relief: "Emma let out a long breath she didn't realize she was holding and sank into the chair, a smile tugging at her lips."

3. Create Relatable Characters

Relatable characters are crucial for keeping readers invested in your story. Characters should have depth, including strengths, weaknesses, desires, and fears. When readers see aspects of themselves in your characters, they're more likely to care about their journeys.

In Detail:

Character Flaws: Give your characters realistic flaws. A perfect character can be boring and unrelatable. Show how these flaws impact their decisions and relationships.

Character Arcs: Ensure your characters grow and change throughout the story. A well-crafted character arc can turn a good story into a great one.

Background and Motivations: Provide backstories and motivations. Why does your character act the way they do? What drives them? This adds depth and makes them more three-dimensional.

4. Add Dialogue

Dialogue can break up large blocks of text and make your writing more dynamic. It reveals character, advances the plot, and provides opportunities for conflict and resolution. Ensure your dialogue sounds natural and serves a purpose.

In Detail:

Natural Speech: Write dialogue that sounds like real conversation, complete with interruptions, pauses, and colloquial language. Avoid overly formal or stilted speech.

Purposeful Dialogue: Every line of dialogue should have a purpose, whether it's revealing character, advancing the plot, or building tension. Avoid filler conversations that don't add to the story.

Subtext: Use subtext to add depth. Characters might say one thing but mean another, revealing their true feelings through what they don't say directly.

5. Use Strong Verbs

Strong verbs make your writing more vivid and energetic. They convey action and emotion effectively, making your sentences more powerful and engaging.

In Detail:

Action Verbs: Choose verbs that show precise actions. Instead of "She went to the store," say "She dashed to the store."

Avoid Weak Verbs: Replace weak verbs and verb phrases with stronger alternatives. Instead of "He was walking," say "He strode."

Emotionally Charged Verbs: Use verbs that convey specific emotions. Instead of "She was sad," say "She wept."

6. Vary Sentence Structure

Varying sentence structure keeps your writing interesting and prevents it from becoming monotonous. Mix short, punchy sentences with longer, more complex ones to create a rhythm that engages readers.

In Detail:

Short Sentences for Impact: Use short sentences to create tension, urgency, or emphasize a point. "He stopped. Listened. Nothing."

Complex Sentences for Detail: Use longer sentences to provide detailed descriptions or explain complex ideas. "As the sun set behind the mountains, the sky transformed into a canvas of oranges, pinks, and purples, casting a warm glow over the serene landscape."

Combine Different Structures: Mix simple, compound, and complex sentences to maintain a natural flow. Avoid repetitive patterns that can make your writing feel flat.

7. Introduce Conflict

Conflict is the driving force of any story. It creates tension and keeps readers invested in the outcome. Without conflict, your story can become stagnant and uninteresting.

In Detail:

Internal Conflict: Characters should struggle with internal dilemmas, fears, and desires. This adds depth and relatability.

External Conflict: Introduce obstacles and challenges that characters must overcome. This can be other characters, societal pressures, or natural forces.

Resolution: Show how conflicts are resolved, leading to character growth and plot progression. Ensure resolutions feel earned and satisfying.

8. Use Metaphors and Similes

Metaphors and similes add creativity and depth to your writing. They help readers understand complex ideas and emotions by comparing them to familiar experiences.

In Detail:

Metaphors: Directly state that one thing is another to highlight similarities. "Time is a thief."

Similes: Use "like" or "as" to make comparisons. "Her smile was like sunshine on a rainy day."

Avoid Clichés: Create original comparisons rather than relying on overused phrases. Instead of "busy as a bee," find a fresh analogy.

9. Create Suspense

Suspense keeps readers on the edge of their seats, eager to find out what happens next. Use foreshadowing, cliffhangers, and unanswered questions to build tension and anticipation.

In Detail:

Foreshadowing: Drop subtle hints about future events. This creates anticipation and a sense of inevitability.

Cliffhangers: End chapters or sections with unresolved tension or unanswered questions to compel readers to keep going.

Pacing: Control the pace of your story to build suspense. Slow down for crucial moments and speed up during action scenes.

10. Edit Ruthlessly

Great writing often emerges during the editing process. Be willing to cut unnecessary words, tighten your prose, and refine your sentences. Editing improves clarity, pace, and overall readability.

In Detail:

Cut Redundancies: Remove unnecessary words and repetitive phrases. "In my opinion, I think" can be reduced to "I think."

Focus on Clarity: Ensure each sentence conveys its intended meaning clearly and concisely.

Proofread: Check for grammar, punctuation, and spelling errors. A polished manuscript reflects professionalism and attention to detail.

[literaryvein-reblogs]

World Building Worksheet

Time

If you could compare the era of your story to one on earth, when would it be?

In the present? In the past? In the future?

Location

What is the settling of your world?

Does it take place in a parallel universe?

Is it on another earth-like planet?

Does it occur in another dimension?

Population

Who lives in your world?

Are they humans, aliens, animals, insects, hybrids, monsters?

What is the population?

Are there multiple races?

Is there tension between the races?

What distinguishes the races?

Where do they live? Do they live in small villages or large cities?

What type of living arrangements do they have?

Do they live in houses? Tents? Communes?

Society

How does your collective population relate to each other?

What is the basis for society?

Is there a class system? Who is rich? Who is poor?

How do the different classes relate to each other?

Can one go from poor to rich and vice versa?

What is the family structure?

Are couples married? Are they monogamous? Polygamous?

Do they have children?

How many children do they typically have?

What are people’s values?

What is sacred?

What is universally accepted as right and wrong?

How do they deal with old age?

What are the gender roles?

History

What is the history of your fantasy world?

What created the current circumstances of the story?

What is the catalyst for change?

Laws and Government

What are the relevant laws in your universe that the characters must obey?

What is the political environment?

Who are the controlling parties and why?

Is there a struggle for independence? Is there growing dissent?

How does magic affect these laws?

Magic

What type of magic will you include in your story?

Are there wizards? Genies?

Is it mental magic?

Science-based magic, like time-travel?

Supernatural, like superheroes?

Who has the magic?

Is magic only available to a select few? If so, how do they get it?

Is magic banned?

Is magic respected?

What are the rules of magic in your world?

Daily Life

What do people do to pass the time?

What do they eat? Drink?

Do they exercise?

What type of clothing do they wear?

Does clothing reflect their values or their social class?

How are they educated?

What do they learn in school and why?

Sentiment

How do your characters feel about the world in which they live?

What do people agree with?

How do people differ?

Religion

What is the name of the prevailing religion?

Are the characters monotheistic? Polytheistic? Atheistic?

What is their folklore?

What do the characters believe?

What do they value?

Physical Attributes

What does the world look like in a physical sense?

What are the natural resources?

What type of plants grow there?

What type of animals?

What is the atmosphere?

How does the world smell?

What does the night’s sky look like? Is there night?

What is the climate?

Source

Writing References: Worldbuilding ⚜ Plot ⚜ Character