Wednesday, July 9, 2014

Links of Interest


ROMANCE SUBGENRES:



USING FIND AND REPLACE TO DEAL WITH FORMATING CHANGES:



SUBMISSION CHECK LIST:



KEEPING INFORMATIVE SCENES TENSE:



DOING YOUR OWN AUDIOBOOKS:



WHEN IS IT TIME TO SEND OUT THE MANUSCRIPT:



HOW TO KEEP BACKLIST VALUABLE:



PROMO, TWO WAYS TO CUSTOMIZE YOUR FACEBOOK UPDATES:



INTERNALIZATION, SHOWING VERSUS TELLING:



HOW TO CREATE IMAGE QUOTES FOR SOCIAL MEDIA:



SHOWING EMOTIONS OUR CHARACTER TRIES TO HIDE:



THE FBI AND WRITER RESEARCH SOURCES:



FIVE ESSENTIAL QUESTIONS TO ASK ABOUT YOUR MAIN CHARACTER:



SMASHWORD SURVEY DETAILS EBOOKS SALES AND VARIOUS SUCCESSFUL PRICE POINTS FOR BOOKS:



Monday, July 7, 2014

The Story So Far, The Idiot's Version


In recent years, I’ve noticed that lighter documentaries for TV tend to repeat information after each commercial break.  

Do these film editors believe that people can’t remember what has been presented so far?  Heaven knows that commercial breaks have gotten ridiculously long, and attention spans ridiculously short, but are viewers that stupid?

Apparently, some novelists think so because I’ve noticed the same pattern in recent novels.  The main character does a mental story recap of the important things that have happened and have to happen.  And this isn’t for complex mysteries where the clues can be confusing.  

Is this a good thing?  

I don’t think so.  Most readers aren’t stupid or are in dire need of a clue.  Nor do they like to be treated like idiots.

If important points have been lost, and the reader has to be reminded of what the main character needs to do to reach his goal, then the writer has allowed the plot and the characters to wander off point.  That’s writer stupidity, not reader stupidity.  

Wednesday, July 2, 2014

Links of Interest


REGRET AS A VALUABLE CHARACTER TRAIT:



PROMOTION, SETTING UP  YOUR AMAZON INTERNATIONAL AUTHOR PAGES:



COPYRIGHT, IF A SITE DOESN’T LIST A DESIGNATED COPYRIGHT AGENT, THEN IT ISN’T PROTECTED BY SAFE HARBOR:



SEXUAL TENSION:



WHAT IS DIESELPUNK?



TEN RESOURCES FOR CHARACTER NAMES:



FINDING YOUR CHARACTER’S INNER STORY:



REALISTIC DIALOG:





THE BASICS OF WRITING A SOCIAL MEDIA UPDATE:



WRITING GOOD DESCRIPTIONS:



WRITING ABOUT SPIES, INSIDE INFO:



WRITER BEWARE: AMERICAN WRITING ASSOCIATION:



YOUR CHARACTER’S UNDERLYING NEED:



WRITING TIME PASSAGE INTO NOVEL SCENES:



AVOIDING INFO DUMPS:



GETTING YOUR POV RIGHT CAN CURE MANY OF YOUR WRITING PROBLEMS:



Monday, June 30, 2014

Bad Reviews of the Famous


Anyone who has had a bad review knows how traumatic is it, but reviewers don’t know everything.  Here are what some reviewers have said in the past about some of the greatest writers of all time.


"Sentimental rubbish... Show me one page that contains an idea." Odessa Courier on ANNA KARENINA by Leo Tolstoy, 1877.


"Shakespeare's name, you may depend on it, stands absurdly too high and will go down." Lord Byron, 1814.


"His fame is gone out like a candle in a snuff and his memory will always stink."  Wm. Winstanley, 1687, on Milton.


"Monsieur Flaubert is not a writer."  La Figaro, 1857.


"This is a book of the season only." NY Herald Tribune on THE GREAT GATSBY by F. Scott Fitzgerald.


"We do not believe in the permanence of his reputation... our children will wonder what their ancestors could have meant by putting Dickens at the head of the novelists of today." Saturday Review, 1858.


"Nothing odd will do long.  TRISTAM SHANDY did not last."  Samuel Johnson in 1776 on a novel that is still in print over 200 years later.


"The only consolation which we have in reflecting upon it is that it will never be generally read."  J. Lorimer reviewing WUTHERING HEIGHTS by Emily Bronte, 1847.

Wednesday, June 25, 2014

Links of Interest


BACK COVER COPY:



WORLDBUILDING A RELIGION:



TRADITIONAL PUBLISHING SURVIVAL GUIDE:



SHERLOCK HOLMES CHARACTERS NOW IN PUBLIC DOMAIN, KINDA:



GOOD AND BAD EXPOSITION:



NOVEL STRUCTURE 101:



CREATING EMOTIONAL PERILS THAT KEEP READERS READING:



WRITING STRONG SCENE TRANSITIONS:



DIALOG BASICS, PUNCTUATION AND GRAMMAR:



HOW MOVIE TRAILERS CAN TEACH YOU TO WRITE A BETTER BOOK DESCRIPTION:



WHAT YOU NEED TO KNOW TO EDIT YOUR MANUSCRIPT:



WORLDBUILDING, WAYS TO NAME FANTASY CHARACTERS AND CREATURES:



PUBLISHING NEWS, TROUBLED SAMHAIN CHANGING DIRECTION:


TO REREAD ABOUT THE TROUBLES:


DOING RESEARCH BEYOND GOOGLE:



PROMOTION, 8 THINGS TO DO BEFORE YOUR BOOK COMES OUT:



ADDING EXCITEMENT TO YOUR STORY:



SNEAKY FORMS OF AUTHOR INTRUSION:



LOCKING IN THE MOOD OF THE SCENE:



EXCELLENT TUTORIAL ON SCENE STRUCTURE WITH CHECKLISTS:



CAREER GOAL SETTING:


Monday, June 23, 2014

How to Vary Sentences


QUESTION: It's recently been pointed out to me that I sometimes overuse "he" and "she" when referring to my characters in narrative as well as action. I also use direct referral by calling my characters by their names, and their general persons -- i.e, "Bob," "Jill," "the man," "the young woman," etc. -- but I find that these phrases soon become old too. What should I do?

Show what the viewpoint character is feeling and seeing. For example, Tom remembers giving flowers to Jane.


Tom recalled how Jane's face lit up, her cheeks equaling the pink of the roses she clutched to her breast. She had smiled shyly at him, and he'd fallen in love at that instant.

OR

Her face had lit up, her cheeks equaling the pink of the roses she clutched to her breast. Her shy smile had won his heart in that instant.

The second version is a more intimate viewpoint, and I've varied the sentence structure a bit.


As a rule of thumb, you shouldn't use a character's name as designation more than once a page unless it's a scene with a number of characters.


It's better to be a bit boring using the character's name, which the reader will skim, rather than to confuse the reader as to who is doing what action. This stops the reading process completely which is the one thing a writer should avoid at all costs.

Wednesday, June 18, 2014

Links of Interest


PLOT 101, WHAT IT IS AND HOW TO DO IT RIGHT:



WHAT IS CONFLICT?



AFTER YOU FINISH THE FIRST DRAFT, YOU NEED TO DO THIS:



MYSTERY SUBGENRES:



ADDING EMOTIONAL CONTRADICTIONS TO YOUR CHARACTERS:



FIVE WAYS TO ADD HUMOR TO YOUR BOOK:



PROTAGONIST BAIT AND SWITCH:



HOW TO SHOW INTERIOR THOUGHTS ON PAGE:



CREATING AUTHENTIC EMOTIONS ON THE PAGE:



WRITING EMOTIONAL LAYERS:



BRUSH UP YOUR GRAMMAR, ANYTIME/ANY TIME AND OTHER WORDS WHICH MAY BE SPLIT OR TOGETHER ACCORDING TO MEANING:



MAKING YOUR STORY BIG:



FIFTEEN QUESTIONS TO ASK DURING REVISIONS:



PROMOTION, PLANNING A SUCCESSFUL BOOK LAUNCH:



PROMOTION SUGGESTIONS:



KEEPING YOUR SCENE MOVING:



SCENE STRUCTURE: