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  • Locked thread
magnificent7
Sep 22, 2005

THUNDERDOME LOSER

PoshAlligator posted:

I tend to say anything goes in speech, and I'm willing to accept anything.

I can't think of anything off the top of my head, but I have seen some good writing do some pretty crazy stuff with speech to make it obvious it is the speech of an actual person.

If it worries you people won't notice and will think it's bad I suppose you could always make it more obvious?
My goal is to help the reader hear the narrator's voice. If the reader isn't familiar with the southern dialect, I know it's just in the way, like when I try to read Scottish or Irish narratives. It becomes hurdles instead of helpful. But if SurreptitiousMuffin is saying the words are flat out wrong and get in the way of the story, then that's my own ignorance of writing and not some skillful dialect thing.

I think No Country For Old Men does a great job of writing out the redneck inner voice.

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magnificent7
Sep 22, 2005

THUNDERDOME LOSER

Sitting Here posted:

IMO the only real rule is "don't suck," follow that rule and you can do anything.
That's my signature style tho.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER
I have a question about publishing a story we wrote in the TD. Some editors won't touch it if it's been posted online already. Is it safe to say leave them alone, or is it worth re-writing the story and submitting it?

And stop laughing. I'm asking hypothetically.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER

Noah posted:

If you are concerned, what's stopping you from editing your story out of the post?
I was just wondering should I be concerned? Right now, I'm not. Or I wasn't until somebody told me I should be.

Nobody's approached me and said "shame you published that because we want to give you a bajillion dollars."

magnificent7
Sep 22, 2005

THUNDERDOME LOSER
I love this guy's blog. He writes. A lot. And writes a lot about writing. A lot.

http://terribleminds.com/ramble/2013/06/25/50-rantypants-snidbits-of-random-writing-storytelling-advice/

Only registered members can see post attachments!

magnificent7
Sep 22, 2005

THUNDERDOME LOSER
He's really good at providing insight on both platforms... advantages to both and why you should't set your sights on one and flat-out ignore the other one.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER
Everytime I've won the TD it's been, oh. Wait.



<==========================

magnificent7
Sep 22, 2005

THUNDERDOME LOSER
I wanted to jump back in -- a few weeks ago Chillmatic told me to drop everything and go get a couple of specific books on writing. I responded saying I needed to finish the ones I already had first. It kind of got heated. He called me a hideous ugly little man with a tiny penis and I told him Jesus loves him no matter who he is. Or something like that.

However, to prove I was smarter than him, I bought one of the books he suggested:


I've read so many books on writing. Well, I've read the first three chapters of so many books on writing. This is the third one I've read all the way through and can't stress enough how good it is.

So I want to thank Chillmatic for the book suggestion.

If you commute to work - GET THE AUDIOBOOK. It's 50 chapters, each chapter covers a tool, (chapter 13 covers Chillmatic because he's a tool. Get it?) The author narrates it and it's like having a front seat in a class.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER
http://www.sfwa.org/2009/06/turkey-city-lexicon-a-primer-for-sf-workshops/

This is an incredible collection of terms used to describe certain traits in writing. Kind of like tropes I suppose. I'm just had it sent to me by one of my writer mentors, and it's pretty goddamn good.

Here's a snippet to give an example:

quote:

“Burly Detective” Syndrome
This useful term is taken from SF’s cousin-genre, the detective-pulp. The hack writers of the Mike Shayne series showed an odd reluctance to use Shayne’s proper name, preferring such euphemisms as “the burly detective” or “the red-headed sleuth.” This syndrome arises from a wrong-headed conviction that the same word should not be used twice in close succession. This is only true of particularly strong and visible words, such as “vertiginous.” Better to re-use a simple tag or phrase than to contrive cumbersome methods of avoiding it.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER

SurreptitiousMuffin posted:

I remember reading that years ago and thinking Damon Knight must be the most terrible loving writer, to have all these things named after him. Then it turns out he's friends with the guys who wrote it and it's stuff he makes fun of in crit sessions.
yeah - not named after the offender, named after the discoverer.

I also like their take on relaxing some of these rules in order to tell a better story vs. hide behind all them big fancy words, (I'm totally guilty of that).

magnificent7 fucked around with this message at 19:07 on Jul 24, 2013

magnificent7
Sep 22, 2005

THUNDERDOME LOSER
I read your post - and, so, you write and people react WHILE you write your story? Does that suck if there's only one person following you? Or none at all? And I guess it's more like performance art than writing? Strip away the comments that happen while you're writing, and does the document make any sense at all?

magnificent7
Sep 22, 2005

THUNDERDOME LOSER
DEJA VU!

I absolutely second or third Writing Tools, the book recommended by Chillomatic. He recommended it to me two or three times and I replied similarly to the way you replied, and then I read the book, and now suggest that book as well.

For reals. Go get the book.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER

Purple Prince posted:

How Not To Write A Novel
Wait. Somebody's actually following me around and reporting on it?

magnificent7
Sep 22, 2005

THUNDERDOME LOSER
I had a big head-exploding paradigm shift over the weekend. Many of the articles/books I've read break writing into categories, books and not-books: (short stories, novellas, etc).

But with e-publishing now, that model is broken. Back in the day, you had to write a 50,000 word story to be considered for publication as a novel. I've been writing my story, fluffing poo poo out, sweating it to hit that 50,000 minimum and just decided gently caress that, write the story, care about word-count later.

Yes. YES. I should already be thinking like that, but that 50K number has been another self-doubt hanging over my shoulder while I write. I'm glad to shake off even just one of the shackles of self-doubt.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER
This whole discussion is like watching the 1998 hand-wringing when Napster broke the mold for major labels and commercial radio.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER
I really like to hold the LP in my hands. A digital song just doesn't have the soul of a cassette. And that new fangled iPod - who wants to carry around all those songs? It's preposterous.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER
I'm still smacking my head over that whole, "I can highlight a word and look it up IN THE BOOK RIGHT loving THEN AND THERE". Honestly, that's a game changer that should be the end of the conversation.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER

Symptomless Coma posted:

This crit made me shudder, as I think I'm the worst offender in TD.

Systran, if I sent you a 4,000w story I'm trying to make good and you were feeling generous, would you angrily cross out everything that struck you as irrelevant? Please?

My favorite line from "Self-Editing For Writers" is KILL YOUR CHILDREN. I'm sure it's not from there, but it means you need to get comfortable deleting stuff from the story no matter how much you love it. If it doesn't push the story, kill it.

I mistakenly got a Dean Koontz book on Audible. If you remove all the excessive descriptions, his book would be a pamphlet.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER

Symptomless Coma posted:

I guess what I'm saying is: anyone up for killing my children and posting a video of it?
Sorry, I'm too busy killing my own.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER
Unless of course, and I'm just being lame rear end devil's advocate, this is just a hobby/passion and you have no interest in pursuing the publishing deal. I mean, sure, if SOMEBODY came to me and said "I'll publish your stuff for a bajillion dollars" then hells yes. But short of that, I kind of enjoy the craft more than the result. And I really seriously suck at the craft.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER

Helsing posted:

While telling somebody to stop obsessing over internet feedback and to just get writing on a daily basis is obviously good advice, I feel like its worth pointing out that not all writers aspire to be novelists. How about a bit of love for writing short stories?

I'd also argue that if you're labouring month after month on a novel and you've never actually completed and polished a short piece of fiction then you might be getting the cart before the horse. Before sitting down to complete a 400 page manuscript surely its worthwhile to see if you can put together a compelling piece of writing that only runs 10 or 20 pages? I'd honestly be interested to know what other people think on that topic.
I got started writing last year in the Nanowrimo. First thing I wrote was 56K words. It's godawful but hey, I got a drat novel manuscript. I learned a lot and it was a great way to kickstart my interest in the thing.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER

Stuporstar posted:

Goddamn, I wish. I want it to be like one of those 60s egg chairs, and I'd be all like, "Do not disturb the sanctity of the writing pod," and then swivel the chair so whoever is trying to bug me gets a face full of 60s motherfucking egg chair, so there.
You just described my Lair of Creation.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER

sebmojo posted:

Exactly. Who cares if you're 'a writer'? What matters are the words you write. Because they can always be better.
You shut your whoring little mouth.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER

AngusPodgorny posted:

Is there a good iPad substitute for Scrivener? Storyist looks good, but the lack of a PC version to sync with seems like it would get annoying.
Lot of my writer friends use googledocs now. But I'm spoiled on Scrivener.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER
I need a thesaurus for physical gestures.

My characters are animated. I want them to express themselves through words but through movement as well. Unfortunately, my brain is making GBS threads the bed when finding a word to describe common activities.

A person holds their hands up to the sky, palms up, and says, "I have no idea what you're talking about."
- what is that? A shrug? An energetic shrug? A surrender?

A person waves a hand, face down, in dismissal at something and says, "nah, gently caress that."
- what is that? A wave of dismissal? A high-five of negativity?

A person, exasperated at trying to find the right words, shakes their head while leaning forward and holds out their hands, palms facing each other, fingers stretching outward, in a "gently caress if I know" gesture. (the hands open as the head shakes, as if emptying pennies to the ground?)
What the gently caress is that called? A surrender? A shrug of surrendering?

I need a thesaurus for physical gestures.

Oh, and, hello all you Thunderdome people and your baiting poor unsuspecting people to join you in the peaceful valley of the dome. I've BEEN there. I know what it's like. You go in there, you come out, changed somehow.

My eyes just widened, my head stretched forward in a gesture of "I know a secret". What the gently caress is that movement called?

magnificent7 fucked around with this message at 19:22 on Dec 19, 2013

magnificent7
Sep 22, 2005

THUNDERDOME LOSER

Dr. Kloctopussy posted:

This is a real thing that exists.

The Emotion Thesaurus: A Writer's Guide To Character Expression
http://amzn.com/1475004958

I haven't read it or used it so this isn't a recommendation, per se. I think relying on this book and others like it could result in pretty cliched writing. It's probably better to observe people in real life and make your own.

Now THAT'S what I'm talking about.

Serpentinely nodding my head like a redneck getting handed a cold bud light in the parking lot after work.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER

TheRamblingSoul posted:

Anyone have any reviews of Elements of Fiction Writing - Conflict and Suspense?

I think I'm definitely partial towards writing thriller stories, especially ones rooted in human conflict in a tightly-knit group (think the Zero Escape series or The Walking Dead). Is there anything else I should read to help with thriller/suspense writing?
Stephen King's "On Writing" is definitely one you should check out, he covers basic writing concepts but has asides about his own approach to his stories.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER
A friend of mine finished his third round of revisions and asked for friends to beta-read his book.

We've traded manuscripts and I'm reading his. It's an eye-opening experience to deconstruct someone else's story, pick apart grammar, character behaviors, general writing rules, etc. I can't recommend it enough for any person sitting on their own MS dreading the next round of revisions, (like me. I am doing almost anything to NOT go back and revise/re-write my book).

As I pick apart their hard work, (and I mean NITPICKY poo poo like, said Nancy vs. Nancy said. I finally googled it to make a point and discovered I was totally full of poo poo on that one. I swear I thought Said Nancy was one of those big no-no's only lovely writers did) it's bringing to light a lot of problems in my MS.

It's a lot easier finding flaws in somebody else's effort, I'm not emotionally attached to it.

ALSO - I am absolutely going to go back through and delete probably half of my notes to him. He's a friend, and there's a difference between a mistake and a writing preference. If he wants to avoid using "said", there's no rule against it I suppose. It's just a whole lot of bedazzled rhinestones after awhile, each one popping out distracting me from the story, but hey, that's his choice.

Long story short - hey new writer, are you done with your MS but don't want to start revisions? Go read somebody else's fledgling manuscript and provide feedback.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER
I think I'm going to approach him with it, and ask him to refer to his favorite authors, or books.

It's absolutely a preference thing. If his favorite books are packed with it, then my opinion carries no weight, regardless what current writing books are saying. The concept of "show don't tell" was recently called out as old and out of date. poo poo changes. Nothing wrong with that.

But drat. It's like he's got the thesaurus open to "SAID" and is going hog-wild.

And no - I don't feel adamant about any of it at the end of the day unless there's just some hard, fast rule against it. But the guy is a copywriter for a living, so I'd want to believe he's pretty well-versed in The Elements of Style. (which I am clearly not).

magnificent7 fucked around with this message at 23:36 on Jan 2, 2014

magnificent7
Sep 22, 2005

THUNDERDOME LOSER

Echo Cian posted:

As far as the bolded bit goes, where did you find that one?

I found it in an article on fastcocreate.com, in reference to a book I ended up buying (Wonderbook).

Wonderbook posted:

Jeff Vandermeer's Wonderbook: The Guide to Creating Imaginative Fiction is jammed with storytelling wisdom from some of world's top fantasy writers. Here's some of it.

...

Hugo Award-winner Kim Stanley Robinson, author of the Mars trilogy, believes "exposition" deserves more respect. He says, "The advice 'show don’t tell' is a zombie idea, killed 40 years ago by the publication in English of Gabriel Garcia Marquez’s One Hundred Years of Solitude, yet still sadly wandering the literary landscape ... what is boring in fiction tends to be the hackneyed plots with all their tired old stage business, while the interesting stuff usually lies in what is called the exposition, meaning the writing about whatever is not us."

Also has some great illustrations that don't exactly clarify anything, but look great.


And

magnificent7
Sep 22, 2005

THUNDERDOME LOSER
The bigger problem though is that a lot of those rules get in the way of a story. People jump on a manuscript, (this goes all the way back to my original point - I was jumping on his MS regarding the aversion to the word "said"... and in the end, the problem was that it's getting in the way of his story, not helping it) is that any of the current writing advice could eventually become outdated. I think attacking every example of "show don't tell" it nit-picking.

When it gets in the way of the story, THEN it's obvious that it's in the way.

There was a story in the 'Dome this week that was ripped to shreds, citing a lot of the current writing no-no's, but I liked the story... the attacks on the writing were legit, I suppose, but the story didn't suffer because of it.

But that's all just my opinion... I'm still trying to find that happy medium between knowing every rule and knowing when breaking those rules will add to the story, instead of getting in the way.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER

sebmojo posted:

I think we all are, tbh.

Dome style can tend towards the terse, which is at least partly to do with the harsh word limit, but learning to pick words like an old woman picks apples at the market is never a bad thing.

Out of interest what was the story? Not to argue with you, but because it might add to the discussion to have a concrete example.

The one you critted, the cat in the tree and the dog on the ground. I read it, and then read your deconstruction of it. I get it - that's the way of the dome, but felt like you weren't seeing the forest for the trees on a lot of it. Didn't want to really debate it because that's how it goes in there; but it re-affirmed my opinion that maybe I was obsessing over guidelines, more than looking at the story I'm critting for a friend.

In the end, it's a little of both. My insistence that he stick to "said/asked" is too much, but it's definitely worth pointing out that his obsession with a thesaurus takes away from the story.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER

sebmojo posted:

Mercedes will be pleased :)

The forest for the trees thing is a risk, for sure; but I tend to find I read the piece, get a feeling whether I liked it or not, then start breaking it down with concrete examples.

The risk is that this gives the impression that any given complaint is of equal importance, which of course it isn't. However a story is a prose machine crafted to create an effect. The only way you're gonna get it to work is to make sure the pieces fit together.

For instance I think Merc's could have been greatly improved by shifting the punchline (the dog's awesomely OTT name) a couple of sentences down. This would have maintained the tension and made the joke (which was literally the enire point of the story) work. As it was it gambled and lost, which is the risk you take with that kinda story; if you go light you need precision.
Sure. All those things. Except I didn't know the prompt, didn't finish the other story, only read that one and thought the prose had rhythm, alliteration, humor, each character was distinct and the ending called directly back to the first sentence. To me, (not knowing the prompt, nor comparing to the other story) it was some pretty entertaining poo poo. Which supports both our points, I think.

And why the hell am I awake at 3am can't sleep thinking about writing. That's not so bad I suppose.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER

The Saddest Rhino posted:

You could spend the rest of the night reading Marquez :rolleyes:
What is Marquez and no I need to sleep.

But what is it.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER

The Saddest Rhino posted:

It's Gabriel Garcia Marquez, the writer of 100 Years of Solitude which you just quoted in your own post about "tell don't show" and I wrote a massive post about above.






That above was a prime example of me "showing not telling" you that I think you really need to learn to read.
I KNEW it rang a bell. I read what you wroted. I just blanked on it. Thank God I've had three hours of sleep now and I'm refreshed. I'll go read that short story.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER

Walamor posted:

You should probably do more telling and less showing in your next submission.
Hahahahaha come on now.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER

Dr. Kloctopussy posted:

He made up publishing credits.
That's how I got my first gigs with my band. It works, in that a person might give you a better chance to get out there.

If you still suck, your devious methods will only bite you in the rear end with a backlash.

magnificent7
Sep 22, 2005

THUNDERDOME LOSER

Meinberg posted:

So, the biggest problem I'm having right now with my writing is getting started.

I managed to get my Thunderdome entry for this week (for whatever measure metric of quality you assign to it) written in a under three or four hours, including the brainstorming phase. This makes me think that there are two things that have aided me in this. First, the deadline. I'll need to assign for myself artificial deadlines in the future, but I think I can manage that. But it also provided a prompt. Those are harder for me t generate on my own, especially since I'm not entirely comfortable with the entire short story oeuvre. To that end, I was wondering if anyone could suggest some high quality prompt generators, specifically for use in science-fiction or fantasy short stories.
First off, tomorrow, around 4pm, take a xanax and prepare a bottle or two of wine, and brace yourself for the crits.

I don't know if that's your first time entering, if it is, I wouldn't go congratulating yourself on writing a lot of words in just a little time. The crit portion of the dome is a soul crusher, especially if you kind of came up with an idea, wrote it, re-read it for a couple typos, and then walked away. I'm not saying you're a bad writer. I'm just saying putting four hours into it without getting shredded is no small feat.

Second, check out the app Write Or Die. You set a goal against a countdown, and the screen turns red if you don't spew out enough words.

magnificent7 fucked around with this message at 04:30 on Jan 7, 2014

magnificent7
Sep 22, 2005

THUNDERDOME LOSER

Martello posted:

I'm pretty sure he was kidding about the drugs and alcohol, but I guess with mag7 you never really know.
Oh MAN that's cold blooded. And since when is wine and a xanax considered "drugs and alcohol"? Oh. poo poo. Wait I get it.

Oh and here's an update to my sleep-killing worries about the manuscript I'd been asked to review.

I sent him my notes, with a 4-page overview of the biggest things that got in the way of me reading the story, sort of a "hey, before you read all my nit-picks, here's why I picked at them, and we've been friends a long time, dear god don't hate me for punching your baby."

He was very understanding about it, and expected no less than my honest frank opinion. Some of the stuff he'd heard from a few other folks who'd read it, and had a lot of questions about why I loathed his constant POV shifts, (he was writing 3rd-person-omniscient, but it got confusing in a lot of places as to who was thinking what about whom, PLUS, i'm not too familiar with 3PO narration, at least not since I started learning to write stories).

In the end, I'd say probably half of my input was mis-placed. I was reading what I thought was a suspense novel, (only because that's all I've been focusing on how to write for the past two years) so I was constantly asking, "Where is your antagonist? Who is the bad guy?"

Turns out it's one of those coming-of-age literature man-vs-himself kind of stories. It probably would have helped to know that going in.

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magnificent7
Sep 22, 2005

THUNDERDOME LOSER

Ervin K posted:

I'm having a really hard time developing a good plot, specifically the middle portion. I have a great, detailed setting, and a good beginning and end, but nothing in the middle. Every time I try to bridge the gaps my mind goes blank. Anybody have ides on how to overcome this?

edit: just realized how much I resemble the previous poster.
I take out the middle and then write the hell out of the initial conflict, the turning point, the climax. Oddly, that leaves me with half a story but the motivation to continue writing what happens next. So, in the end, I've got a story that's compelling, a middle that leaves you wondering what the hell happens next, and then repeat. I'm not saying it's a GREAT idea, but it gets me to keep writing. If the end result is good? Then that's great. If it sucks? I've still spent more time writing, less time agonizing over why I can't write.

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