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I'm still working my way through the previous thread on this topic, so please forgive me if this has been addressed already. I did not see it noted in the OP. How do you suggest dealing with coincidences of characters (Perhaps bad phrasing, but it's the description that most readily comes to mind)? For example, I have been working on a project for nearly a year that is set within the fantasy genre. As is common with fantasy novels, my project includes the existence of various gods/goddesses. One of these goddesses takes the form of a female child. A few weeks ago, I was looking for some new books to read, and decided to go with a series, "The Elenium" and following that, "The Tamuli" by an author I have previously enjoyed, David Eddings. I have read and reread his Belgariad and Mallorean series for the past ten years, but have never gotten around to reading any other works he has published. Imagine my surprise when a character within the series, Aphrael, is almost identical to one I have created for my own project, through sheer coincidence. The similarities are not exact, but it's very close, and I am concerned that my character might be considered a 'rip-off' of a previously conceived character by a celebrated author. I am not totally against altering my character slightly to avoid issues, but she is quite pertinent to the story, and I'm torn as to what course of action I should take. Had I not created this character myself, I would bet dollars to donuts that she was a complete rip-off of Aphrael, and this has really put a damper on my writing. I understand the basic theory that no ideas are truly unique. I have no doubts that any character or plot that I envision has, at some point and in some similar manner, been conceived by another person. I even accept that my personal writing style and character development has, in some manner, been influenced by those authors I admire. Despite this, I cannot bring myself to continue my work on this project in light of my discovery. I am looking for suggestions as to how I should approach this revelation, and what impacts it might have upon my writings should I stick with my current characterizations.
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Aug 26, 2012 07:15
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I realized that one of my characters was a bit too similar to that in another work I'd seen. Part of that was just her appearance, but there were also similarities in backstory, personality, having a special ability, weapon choice... I shared my concerns with someone else who knew the other character as well, and they didn't think it was a big deal, but I was still bothered by it. I took a hard look at the decisions I'd made, and I realized that there was no need for me to write parts of that backstory in the way that I did, and the story would be stronger if I changed that part. I re-wrote the roles of about three characters, and now the remaining similarities don't seem very noticeable. It may not actually be a big deal, ideas can get duplicated. If you're concerned, you might want to take an objective look and think: "Why did I make this choice for my character? Can I get that result by going at it another way?"
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Aug 26, 2012 13:29
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I've started a story with an idea I had and I'm starting to doubt myself in the validity of my idea. I'm really facing an internal struggle with my brain trying to connect the dots. How much suspension of belief can I expect to get away with? Considering I'm dealing with science fiction/space stuff that is unexplained. General gist of my story: Current day setting, a sudden and unexplained event occurs that blacks out the sky plunging the world into darkness (but maybe not forever). Unsure how far to technically explain this in the story (space dust cloud?). The story is ultimately about survival and the fall of civilisation. Obviously when you take away something as important as the sun you're faced with various issues. I'm not getting much information from Google but I've found a few speculative articles regarding what would happen to the planet if the sun vanished (world would mostly freeze over in 45 days or more.) Sorry for ranting about my current dilemma. Ingram fucked around with this message at 18:01 on Aug 26, 2012 |
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Aug 26, 2012 16:50
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Write it anyway, Asimov wrote a short story in 1941 called Nightfall which chronicles what happens on a world with no nighttime that experiences a solar eclipse. It's not a new idea or anything. There's also no need to black out your idea. Ideas are a dime a dozen and yours has been done a ton of times. And don't forget the key word here, Science Fiction. You can make poo poo up, pick some likely scenarios and run with it. I would say the the most effective way to deal with world changing ideas and concepts is to focus on the characters rather than the event. Pick a small window to write your story through so the story doesn't get lost in the big idea.
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Aug 26, 2012 17:55
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I will have to check out the short story. Thanks for the input.
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Aug 26, 2012 18:02
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Ingram posted:I've started a story with an idea I had and I'm starting to doubt myself in the validity of my idea. I'm really facing an internal struggle with my brain trying to connect the dots. But yes, as said it's SF, and if SF is any one thing it's working out the consequences of implausibilities. You don't have to explain it in-story, especially if you're writing about people who could reasonably be expected to have no idea about what the hell just happened. You could make a thing out of if you wanted; everyone's got their own theory; one saw a report about an approaching Soot Comet, one read an article about this experiment at fixing the ozone layer so it must have been that failing, one guy's cousin told him he found a dying scientist who told him it was the Illuminati lizard NWO packaging the Earth for transport to the Galactic Centre. If you're focusing on people surviving rather than fixing it then you don't need to know what caused it.
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Aug 26, 2012 20:28
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Ingram posted:How much suspension of belief can I expect to get away with? Considering I'm dealing with science fiction/space stuff that is unexplained. In that case, it sounds fine. It's a science fiction story, so as long as you can come up with an explanation that sounds plausible (and it's entertaining), most people will accept it and go from there. I follow the rule that if I write something that seems hard to swallow for me, why should I expect anyone else to swallow it either? Then I get a migraine trying to think of something that works and isn't stupid. I couldn't think of a scientific way to instantly create an ice dam in a swift-flowing river, so I thought up another idea. That one sadly, looked dumber and dumber the more I thought about it, but eventually I came up with a not-dumb way (to get my characters across but not their pursuers). Stabbey_the_Clown fucked around with this message at 12:08 on Aug 27, 2012 |
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Aug 26, 2012 21:14
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Subway Ninja posted:Aphrael problems As fond as I am of Eddings's work, and especially the Elenium, it is nothing if not generic. You're probably in the clear. If anything I'd suggest doing more work on your character to make her less generic, because Aphrael wasn't exactly original even when Eddings wrote her. Eddings has a fascinating, engaging writing style, but he's fantasy-by-numbers. Try not to be like him.
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Aug 26, 2012 22:57
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eating only apples posted:As fond as I am of Eddings's work, and especially the Elenium, it is nothing if not generic. You're probably in the clear. If anything I'd suggest doing more work on your character to make her less generic, because Aphrael wasn't exactly original even when Eddings wrote her. Eddings has a fascinating, engaging writing style, but he's fantasy-by-numbers. Try not to be like him. Yeah, didn't Eddings specifically set out to use every generic fantasy trope?
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Aug 26, 2012 23:02
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Subway Ninja posted:How do you suggest dealing with coincidences of characters (Perhaps bad phrasing, but it's the description that most readily comes to mind)? Write it anyway. If you get to the point where you're looking to publish it, raise your concerns with your agent or your editor, and they can tell you whether or not it's something you need to be worried about. Lots of writers tend to overestimate (or underestimate) how close their characters or plot are to somebody else's--it may not be something an outsider will even pick up on. Fantasy especially (and all genre fiction, really) tends to involve a lot of archetypal characters, so what strikes you as a rip-off may just be considered a stock fantasy character by somebody else. If the similarities are enough to bother you whether others pick up on it or not, then sit down and brainstorm how you can change your character so that she's different enough from the already published one. There are tons of changes you can make--appearance, manner of speaking, personality, moral outlook, etc.--that can change your character just enough without affecting the role they play in the story. And the more thought you put into it, the more likely it is that you're going to hit upon a change that will make that character work even better than she does right now.
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Aug 27, 2012 06:47
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Thanks for the feedback everyone you've bought a smile to my face and a poo poo ton of inspiration 
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Aug 27, 2012 09:17
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So, uh, are there any good resources/advice/lists of tips for writing sex scenes? Especially those that lean towards the rougher side of things (but not in an S&M way).
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Aug 28, 2012 16:21
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PlatinumJukebox posted:So, uh, are there any good resources/advice/lists of tips for writing sex scenes? Especially those that lean towards the rougher side of things (but not in an S&M way). Rule #1 - Know thyself. What I mean is, know why you feel compelled to include a sex scene in the first place. Know what kind of story you're writing. Is it porn, or not? (and sorry, but crappy fanfic is pretty much always just excuses for porn) If it's porn, anything goes. Go nuts. Your reader should know what they're getting into when they pick up the book, so it's all fair game. If it's not porn, then it gets trickier. Does the story need a sex scene? If you really believe it does, how graphic do you want to get? Are you writing the scene just because you think it's hot, or because you believe the characters on the page will actually want to do the things you're about to make them do? Don't be that creepy person who's clearly just acting out their own sexual fantasies. Nobody wants to read that unless you make it believable that the sex itself really belongs to the characters, and not to their weird-rear end puppeteer (you). Also, you have to be comfortable getting into the head of the opposite sex (assuming hetero stuff is happening), as writing a scene specifically from only your gender's perspective is pretty drat lame. Good sex is about give and take (regardless of power dynamics) , and failing to capture that is pretty much the biggest problem I see with sex scenes... right behind creepy stuff, of course.
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Aug 28, 2012 17:00
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Chillmatic posted:
Yeah, it's pretty much porn. I'm more worried about my actual technique - I really don't want the reader to laugh their way through the whole scene like it's being narrated by Gilbert Gottfried. There're plenty of sites that give advice on general fiction technique, but I've yet to see any that cover blatant smut.
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Aug 28, 2012 17:06
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PlatinumJukebox posted:Yeah, it's pretty much porn. I'm more worried about my actual technique - I really don't want the reader to laugh their way through the whole scene like it's being narrated by Gilbert Gottfried. There're plenty of sites that give advice on general fiction technique, but I've yet to see any that cover blatant smut. The best advice I can give you for that is to read sex scenes that you enjoy or that you think succeed in what they set out to do, and then go from there.
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Aug 28, 2012 17:13
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It also helps if you've actually had sex yourself, preferably a lot. I'm not suggesting that anyone here hasn't (although I'm sure there are one or two), I'm just using the general "you." It's hard to write about something as complicated and intimate as sex without some experience of it beforehand. Otherwise it ends up going through the motions of a porno scene and in worst case you end up with "her breasts felt like bags of sand."
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Aug 28, 2012 17:16
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This thread might be helpful.
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Aug 28, 2012 17:16
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I'm starting to get ready for NANOWRIMO this year a few months early, I have the idea and it seems to be working right now, so I'm going to run with it for now. How should I be plotting this out? Should basically plot out each chapter or just write a paragraph about what goes on in each chapter. I'm used plotting out scripts, which means that every new paragraph is a scene. Does this work the same way for fiction writing too or is it a little different?
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Aug 29, 2012 01:57
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screenwritersblues posted:I'm starting to get ready for NANOWRIMO this year a few months early, I have the idea and it seems to be working right now, so I'm going to run with it for now. How should I be plotting this out? Should basically plot out each chapter or just write a paragraph about what goes on in each chapter. I'm used plotting out scripts, which means that every new paragraph is a scene. My intuition, based on your chosen screen name, says you should just hit the keys and start writing, format later. Everything else says the same. So if it's working, stop trying to break it. Worry later after some words are down.
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Aug 29, 2012 02:10
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NANOWRIMO is solely about getting 50000 words down on the page in one month. Basically, it's quantity over quality for NANOWRIMO and you should approach is like a marathon. You're going to end up with 50000 words that you're probably not going to be happy with. But you will have written 50000 words in one month, which not many people can say they've done. That being said. The idea is pretty important in a novel. it has to be an idea that won't run out of steam by mid month. Now you have a few options, since you're used to writing scripts I'm going to, probably wrongly, assume that you're less of an organic writer and more of a technical kind of writer. You like to know plots, story arcs, characters, before you start writing. in that regard you can: 1. Write a very broad outline using bullet points and all that. then break it down into chapters from there. You'll have a goal for each chapter and you'll know how much you have to write based on the number of chapters you have. 2. Write a broad and sloppy five to eight page synopsis of your novel. It'll be less precise than the outline but I like this method because I can see how the story is going to progress better. Good luck.
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Aug 29, 2012 02:16
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PlatinumJukebox posted:So, uh, are there any good resources/advice/lists of tips for writing sex scenes? Especially those that lean towards the rougher side of things (but not in an S&M way). Naturally, this is just my take on the matter: First, I think your sex scenes shouldn't be all that much different from other kinds of scenes, in that a successful sex scene will do something to advance the plot, reveal or deepen characterization, or both. Second, you have to decide what you want to convey or accomplish with your sex scene, so that you can adjust your tone and focus accordingly. Are you going for sexy? Gross? Romantic? Funny? Fun? Scary? Unsettling? Some combination thereof? What you decide here will shape your word and phrasing choices, and inform what you choose to describe, and how, and what you choose to leave up to the imagination. Por ejemplo, I personally think the proper clinical terms for a lot of body parts are decidedly unsexy, so if you're trying to make readers feel uneasy or uncomfortable, or if you want to send the message that your characters are cold, clinical, robotic, lacking warmth, or lacking in empathy or compassion, keeping your terms and your phrases clean, direct, technical, and free of all frills and flowers may help you to accomplish just that. Or, if you want to create a harsh, sleazy, or greasy scene, you'll want to use sleazy, crass, greasy-sounding language to describe it all--pussies and cocks and all that jazz, doncha know. When it comes to romance, I'm an odd duck, in that I find roses and lace and people falling slowly into into the pillows more hilarious than arousing. For me, a truly romantic scene is where characters demonstrate their consideration and caring for one another through word and deed. In such a scene, I'd tend to have the characters discuss personal or intimate matters outside of the sex, and I'd show them consciously accommodating or adjusting for one another throughout the scene, for one another's comfort. Unless I'm trying to create a tense or scary scene, I'd also tend to insert some light humor here and there, because my sense is that sex is often inherently funny. You'll often notice (or rather, I do) that the most hysterically funny sex scenes are the ones which are trying very hard to be All Business. Third, this is just personal preference, but, I think the words "penis" and "vagina" are pretty drat unsexy, all things considered, and I have yet to discover or invent a word for either part that isn't goofy or icky (or both goofy and icky). I roll my eyes when other authors wax poetic about the woman's "delicate flower" or her "sex," or about the man's "manhood" or "rod" or "luncheon-meat truncheon" or what have you. So, if my goal was to be sexy, romantic, and arousing, my tendency would generally be to avoid mentioning those parts by name under most circumstances, and focus more on the characters' movements, emotions, facial expressions, and physical sensations in the moment. But, your mileage may certainly differ. Actually, I'd prefer it if sex scenes focused more on the characters' physical sensations and experiences, rather than their particular movements, or physical appearance. I also notice that some authors either go overboard-melodramatic when describing characters' feelings during sex, or completely forget to mention them. Tartarus Sauce fucked around with this message at 17:10 on Aug 29, 2012 |
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Aug 29, 2012 06:13
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Tartarus Sauce posted:"luncheon-meat truncheon 
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Aug 29, 2012 11:04
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Unless the scene is straight up pornographic, a blow-by-blow should be avoided. Sex scenes fall under the same general guidelines as battle and combat scenes, as discussed in the previous thread. It's much better to sort of set things up and let the reader's imagination focus on the gory details, as it were, while bringing across the emotional significance for the characters and the plot. There's also an issue of context; detailed blow-by-blow sex scenes work in erotica because the audience is going in expecting that. If you're not in the "mood" it's going to sound ridiculous. Generally, the harder a writer tries to make a sex scene poetic or tries to write it very seriously, the more ridiculous it will be.
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Aug 29, 2012 14:03
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I've written a satirical romance/action thriller novel that includes some over the top language and descriptions. The story requires a love scene at some point early on since the title references the relationship between the two main characters and based on the degree of detail/explicitness of the work as a whole, it seems an obvious copout to gloss over the physical aspect of their relationship entirely. I read some excerpts of "50 Shades" to get an idea of the degree of sexuality currently present in that type of literature. I'm wondering if the following is enough to throw a huge chunk of potential readers off and since the thread's conversation drifted in this direction... Marc pumped his turgid dick into her sopping baby box as it thwacked wetly again his scrotal area. Steph’s back arched and her nails dug into Marc’s shoulders when she pulled them tight together. When he lost himself and began to cry out Steph jammed a sock puppet frog into his mouth. By the time he finished a minute later both had green felt between their teeth. This occurs on the 14th page. It hasn't discouraged my beta readers to run away screaming, but is this way too far to go to stay consistent with the pulpy, lurid language I'm using for the rest of the work? Also this is probably the most over the top it gets, so it does set the tone in a way. E - Basically if the somethingawful forums think grossness has gone too far that's probably a good indicator I'm looking for Brock Broner fucked around with this message at 22:16 on Aug 29, 2012 |
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Aug 29, 2012 22:13
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Brock Broner posted:I'm wondering if the following is enough to throw a huge chunk of potential readers off... Well, let's see, what does your sex scene look like... quote:Marc...Steph 
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Aug 29, 2012 22:47
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Brock Broner posted:Marc pumped his turgid dick into her sopping baby box as it thwacked wetly again his scrotal area. Steph’s back arched and her nails dug into Marc’s shoulders when she pulled them tight together. When he lost himself and began to cry out Steph jammed a sock puppet frog into his mouth. By the time he finished a minute later both had green felt between their teeth. Bwahahaha! Holy poo poo, this is terrible. The first part detracts from Kermit the Frog entering the scene though. I'd tone down the first half and focus on that, because it's legit funny, wheras in the first bit the languange is maybe too unintentionally funny (depending on how gawdawful ridiculous your general tone is).
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Aug 29, 2012 22:52
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If you're going for satirical or funny, I say, with words like "turgid" and "thwacked," and with Kermit the Frog S&M, mission accomplished! This scene has great potential. I can only imagine the accompanying dialogue  .'"Ribbit, ribbit," she growled seductively.' Those of you who write sexy satire ought to check out an oldie-but-goodie entitled "Naked Came A Stranger." As I recall, "Atlanta Nights" by Travis Tea also had some funny sex.
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Aug 29, 2012 23:21
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The book follows these two characters as they fall in love, have their lives torn apart, then reunite to stop government assassins operating undercover as band members from detonating a bomb at a political rally, so the underlying themes are kinda darker. I wanted the language and short situations of the book to be absurdly comical to counterbalance the serious aspects of it. The first 13 pages are straightforward with heavy hints of things to come, but this is the first instance of literary insanity. There's a short synopsis posted in Romper Bilson's thread. I feel some concerns about writing muppet porn in an invader zim type narrative voice, but the goal is to make this the most enjoyable potentially serious read possible. I figured it's better to go all out and tone down later cause if you don't have a unique voice or perspective, then things start getting boring. Might as well have some fun with it and hope others do also. Thanks for the opinions, I'm sure some more will pop up. I was considering posting this for months and I guess stumbled into the perfect moment. I've been heavily lurking this section of the forums since October of last year and all the advice here has been invaluable in helping me stumble through completing my first effort, so THANK YOU all very much. To pay it back I'll make an effort to be more involved instead of just leeching knowledge.
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Aug 29, 2012 23:48
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Stuporstar posted:Bwahahaha! Holy poo poo, this is terrible. The first part detracts from Kermit the Frog entering the scene though. I'd tone down the first half and focus on that, because it's legit funny, wheras in the first bit the languange is maybe too unintentionally funny (depending on how gawdawful ridiculous your general tone is). I think this is right. Just ditch the first sentence and you have a sex scene that sounds like it is supposed to be funny.
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Aug 30, 2012 01:07
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Seldom Posts posted:I think this is right. Just ditch the first sentence and you have a sex scene that sounds like it is supposed to be funny. Yeah, I should've used smileys so Brok Boner got my tone there. Dude, you're first sentence is like this:  But the rest is like this:  gets you laughs. gets you laughed at.Don't mix up the two.
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Aug 30, 2012 01:52
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Nah don't worry, I understand where you're coming from. I'd never written any extended fiction in years, left the romance part until the very end and was dreading getting the words down on paper so I'm completely happy with just the frog part.
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Aug 30, 2012 02:26
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The frog part is awesome, but spelling Mark with a c and having a character named Steph kills it all for me. Although that's obviously just me being an awful dickhead. Martello fucked around with this message at 02:47 on Aug 30, 2012 |
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Aug 30, 2012 02:40
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I also dislike Marc with a C and Stephanie is an inside joke name for local friends, they served better than A and B for drafting purposes. - apologies to all Marc's out there Brock Broner fucked around with this message at 02:58 on Aug 30, 2012 |
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Aug 30, 2012 02:55
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Here's a new topic. Is short fiction that makes you think/draw your own conclusions dying? It seems like it is, if you accept the opinions of most critiques found in online writing circles. The most common "criticism" I see across all contributions is "this ended abruptly", or "I didn't know the background information". I don't remember all the published short stories I was assigned to read during my creative writing topics at university, but I do recall a lot of them ended abruptly or with no resolution. Some threw you in the deep end and forced you to read the clues and invent your own back-story. Is having some mystery and ambiguity out of fashion now? Or is this just an opinion held by haven't-made-it writers with grandeurs of trilogies? My opinion, in the past I have been guilty of being too ambiguous, but I think there's nothing wrong with a short story ending with unresolved tension if you've said what you want to say.
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Aug 30, 2012 03:09
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Just those people. I've actually heard the opposite--the usual complaint about MFA programs these days is that they teach a very formulaic kind of fiction (of which the ambiguous ending is an essential part). Pretty much every recently published short story collection I've read consists of at least half ambiguous endings, sometimes all ambiguous ones. I don't think the ambiguous ending has ever been more en vogue in literary fiction circles than it's been the last 10-20 years, really. Of course, if you're writing genre fiction then it's a lot harder to get away with that kind of ending. And even with a gray ending, you have to make sure that your character goes on some kind of emotional arc where change is implied; you just don't have to spell out exactly what it is.
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Aug 30, 2012 19:10
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I want to set up a blog for my writing, to share with family and Facebook friends and so on. Is there a blog service that's especially good for this, and how should I treat any material that I want to send to a publisher?
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Sep 5, 2012 18:38
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Baggy_Brad posted:Here's a new topic. If you've not read Joe Hill's '20th Century Ghosts' yet then you should. A lot of his stories either end with a simple act of finality or on a note of ambiguity. Here's the thing - it's whatever the story needs to be. You have a feel for the story, you know what it is. You know what those beats are, who those characters are and you know how it should end. If it ends on a note of ambiguity and it feels right to you then great. Not everyone is going to agree. I think a reader can see through it when someone just finishes a story because they don't know how. Some just respond negatively to ambiguity because they like it to be finalised. Plus, if people want to read more...then isn't that better?
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Sep 5, 2012 21:55
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Baggy_Brad posted:Here's a new topic. As a haven't-made-it writer, I've criticized a couple stories posted here for being too ambiguous. In those cases, I felt ambiguity was used as a substitute for real tension and story development. This ties into the recent "all short stories must have epiphanies" trend discussed earlier. Instead of building to an emotional/plot-based conclusion, they just hide pertinant information from the reader and then stick it in later as a "big reveal." They try to substitude hiding the set-up for the actual plot. In most of the instances like this that I've seen, they actually had a fine story that would have benefited from making the sitation clear earlier. I'm not against stories that make me think, but withholding information isn't a shortcut to intellectually stimulating work.
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Sep 5, 2012 22:15
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When I read the posts on this topic I found myself kind of uncomfortable because I thought ambiguous was the wrong term. I still think it's not a great fit for what we're talking about. I have always thought of good short fiction much like building a bell, then ringing it with the final punctuation in the story. If you build it right and end it well, it will resonate long after it's over. It has direction (the shape of the bell), so strictly speaking it should not be vague or ambiguous. If that direction is not clear, either the author has built her/his bell with flaws or the reader fails to listen to the ringing. I'm not even sure how something like this is faked. If you hit a bell and it quacks like a duck, then the bell is a failure. Really ambiguity is the symptom of bad craftsmanship. I for one thank god I am ignorant on what is going on in fiction workshops these days.
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Sep 5, 2012 22:55
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Black Griffon posted:I want to set up a blog for my writing, to share with family and Facebook friends and so on. Is there a blog service that's especially good for this, and how should I treat any material that I want to send to a publisher? I use blogger/blogspot, and Wordpress offers some good solutions as well.
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Sep 5, 2012 23:22
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