The Frenemy., An Open Letter To American Apparel Hello there- I don’t really wear your clothes. Well, actually, I wear this one sweatshirt of yours sometimes, but I stole it from my roommate who stole it from a friend, and I’m thinking this doesn’t count. Anyways, I was just writing to tell you something I thought of after visiting your store the other day. That something is this: Really, dude? Your clothes aren’t serious, are they? I guess I’m not being fair: as much as I enjoy scowling at the world and wearing a sparkly high waisted breast reducer, I don’t really like wearing that at all. These are seen in most of your advertisements, by the way. The main beef, here, is that you call yourself American. you look kind of stupid. Or maybe you’re kidding. General Fiction Getting Around... Career Essentials Getting Started Queries & Manuscripts Market Research Classes & Conferences Critiquing Crafting Your Work Grammar Guides Research/Interviewing Writing Contests The Writing Business Income & Expenses Selling Reprints Collaboration Pseudonyms Negotiating Contracts Setting Fees/Getting Paid Rights & Copyright Tech Tools The Writing Life The Writing Life Rejection/Writer's Block Health & Safety Time ManagementColumn: Ramblings on the Writing Life Fiction Writing - General General Techniques Characters & Viewpoint Dialogue Setting & DescriptionColumn: Crafting Fabulous Fiction Fiction Writing - Genres Children's Writing Mystery Writing Romance Writing SF, Fantasy & Horror Flash Fiction & More Nonfiction Writing General Freelancing Columns & Syndication Newspapers/Journalism Topical Markets Travel Writing Photography Creative Nonfiction Memoirs/Biography International Freelancing Business/Tech Writing Other Topics Poetry & Greeting Cards Screenwriting
Explain this bullshit - Memerial.net Creative Writing For Dummies Cheat Sheet Rewriting and editing helps to tighten up your work. But it can be difficult – what to chop and when to stop may not be clear, and you may change your mind more than once during the process. Ask yourself whether you need to take out: Unnecessary information and explanation. Passages of dialogue that go on too long. Clunky descriptions that give too much detail. You may need to add or expand: Something you know but have forgotten to tell the reader; perhaps the age of the main character. You may need to move: Dramatic sections to make a stronger opening. In your final edit: Check for grammar, punctuation and spelling mistakes. Eight Secrets Which Writers Won’t Tell You Image from Flickr by Lazurite This is not particularly relevant to the post, but I’m getting an awful lot of comments telling me, often a little snarkily, “it’s ‘THAT’ not ‘WHICH’”. The “don’t use which for restrictive clauses” rule comes (as far as I can tell) from Strunk and White. Plenty of authors, including Austen, have used “which” exactly as I use it in the title. There was never a period in the history of English when “which” at the beginning of a restrictive relative clause was an error. I thought about putting “that” in the title – but I like the sound of “which” between “secrets” and “writers”. And with that out of the way, enjoy the post! A few years ago, I’d look at published writers and think that they were somehow different from me. They were real writers. But as I’ve taken more and more steps into the writing world, I’ve realised that my perception just doesn’t match up to the reality. I’m going to go through eight secrets. Secret #1: Writing is Hard It doesn’t end there.
Song of Dragons, new fantasy series. For fans of A Game of Thrones by George R. R. Martin. Ebooks for Kindle and Nook. The Complexity of the Creative Personality Researcher Mihaly Csikszentmihalyi includes in his books and other writings descriptions of the diversity and multiple characteristics of creative people. In a post of hers, Juliet Bruce, Ph.D. notes that Mihaly Csikszentmihalyi (pronounced me-high chick-sent-me-high-ee) wrote, “If there is one word that makes creative people different from others, it is the word complexity. Instead of being an individual, they are a multitude.” “Like the color white that includes all colors, they tend to bring together the entire range of human possibilities within themselves. Here are a few qualities he lists, as Bruce summarizes: A great deal of physical energy alternating with a great need for quiet and rest.Highly sexual, yet often celibate, especially when working.Smart and naïve at the same time. Do you relate to any of these qualities? One of these intriguing areas is androgyny. The photo is actor Tilda Swinton, at the 2008 Oscars, where she won for her role in “Michael Clayton.”
Questionnaires for Writing Character Profiles - Creative Writing Help Enter your e-mail to get the e-book for FREE. We'll also keep you informed about interesting website news. "I have searched the web and used different worksheets, but none have come close to your worksheets and descriptions of (what to do and what not to do). "As usual - I already love the course on Irresistible Fiction, rewriting a lot and improving greatly even after the first lesson. “Essentials of Fiction proved that I could indeed write and I wrote every day, much to my boyfriend's dismay (waa sniff).” - Jill Gardner "I am loving the course and the peer interaction on the blog is fantastic!!!" "I'm enjoying the weekly email course, Essentials of Poetry Writing. "Thank you for all the material in this course. "I was pleasantly surprised at the quality of the lessons and feel they were very helpful in introducing new ideas and perspectives to my writing. "Thanks very much for this course. "I'm learning so much. "Thank you so much!! "The Irresistible Fiction course is going well.
Chekhov's gun: a useful plot device. By Glen C. Strathy Chekhov's Gun is a plot device whereby you introduce an item in the first part of your novel that doesn't seem important to the story at the time, but takes on greater significance later on. The principle was expressed by the great Russian playwright, Anton Chekhov, who said that if you put a gun on stage in the first act of a play, it should be fired in the second act. Some writers try to follow this dictate very rigorously and avoid mentioning any object unless it will play a major role in the story, but that is really taking things too far. I believe Chekhov used the example of a gun because a gun isn't just any object. You violate the principle of Chekhov's Gun if you take the time to draw your reader's attention to an object, perhaps by a lengthy description of it or its history, in a way that makes it seem significant, and then never mention it again. So if you do draw attention to an object, your readers will expect this object to appear again. 1. Mrs. 2. 3.