47k words. Huh. This is no longer a “side project” but full on “side BOOK”. Still have tons of editing to do, but I’m maybe 3/4s of the way done gathering up all the ‘Brig and Viv’ material.
Original Source: Writer’s Digest
“I just keep it simple: Tell the damn story.”
I’ve had friends suggest writing courses, expensive programs, and usually from people who haven’t written anything similar to what I try to write, but that’s cool – everyone wants to be helpful. I’ve finished two books, start to finish, with just microsoft word and probably 30% hearing loss due to how loud I listen to my music when I write, but I think Clancy’s advice to keep it simple and just write the story is the best one I’ve read. Found a Writer’s Digest article featuring Tom Clancy that they reposted. I’m reposting it here.
A legendary storyteller is lost.
If you’ve read: Book 1 and Book 2, you know who Brig and Vivienne are. Bound together by their scents, they are soul mates from two very different worlds. Both werewolves, Brig is the Commander of the Alpha Pipers, direct descendant of the Jameson family, and enigmatic best friend of the new Alpha Hammerthynn. Vivienne Sena is the adopted daughter of Vigo Hammerthynn and was raised as an Outcast – the nomadic, cast out pack of wolves who followed the false Alpha generations ago. They are secret lovers when you meet them in Book 1 – but ever wonder just how they met?
Coming soon – a short love story. The who, why, how, and when of Brig and Vivienne.
original source: HeretoCreate.com
102 Resources for Fiction Writing (but here a few interesting ones – click source link above for more)
CHARACTER, POINT OF VIEW, DIALOGUE
PLOT, CONFLICT, STRUCTURE, OUTLINE
Original source: Socialpolitan – Fiction Writing Craft
You know the fiction-writing dictum “Show, don’t tell.” But how does it apply in practical terms when it comes to communicating characterization without exposition?
People in different eras have unique speech and speech patterns, but restrain yourself from indulging in periodization in your historical novel; if your Elizabethan-era characters talk like Shakespeare’s, people 1) won’t understand much of what they say and 2) will be distracted by your forced — and fatally flawed — attempt at authenticity.
Do, however, immerse yourself in that period’s society: What did people know about history and sociology and psychology and spirituality (even if they didn’t use those terms to identify them)? What were prevailing political and social and religious viewpoints? How open were people about expressing themselves? Be careful not to let modern sensibilities intrude on the way your characters speak and think, but do permit them and their speeches and thoughts to be accessible to modern readers.
The extent to which characters will express their ideas and opinions, or ruminate about them, and the language with which they will do so, depends on a few other factors:
People of different generations and different social backgrounds generally speak differently. Geriatric characters should exhibit speech and speech patterns distinct from juvenile ones and consistent with norms unless an exception is a deliberate dramatic point — for instance, if a teenager who has switched bodies with an elderly person is trying to pass vocally as well as visually as a senior citizen.
Likewise, the speech and thoughts of well-educated characters will usually be distinguishable from that of those of others with less formal schooling. Of course, no one should assume that a person with only a high school education is less intelligent than a college graduate, or the reverse, but their vocabulary and the level of sophistication of their thoughts will, unless they are self-educated, likely differ.
Further individualization of characters makes fiction writing more vivid. How does one’s personality affect words and thoughts? A repressed person’s speech patterns will differ significantly from an extrovert’s. A tense, angry character will exhibit different rhythms of speech and thought than a carefree individual.
Length of speeches and thoughts is also a consideration: Children do not soliloquize, and philosophically minded people do not tend to make snap judgments. Match the extent to which people speak and think to their personalities. But keep in mind that various sentence lengths and paragraph lengths have differing dramatic values, too — long passages tend to be soothing (but, when too long, are soporific), while short bursts create or maintain tension (though, in excess, can be just as wearying as extensive paragraphs).
In essence, capitalize on your knowledge of individual characters to establish vocabulary and modes of speech and thought, as well as on familiarity with societal norms for speaking and thinking appropriate to the era in which your characters live.
About the Author
Mark Nichol, Editor: Mark, a freelance editor and writer and a former editing instructor for UC Berkeley’s Extension program, edits trade and academic books for various publishers and publishes occasional articles about the Golden Age of Hollywood at Yahoo!’s Associated Content, and writing tips at Daily Writing Tips.