Tuesday, October 4, 2011
Muse Online Writers Conference 2011
Friday, September 30, 2011
Writer's Block - A Myth Breaker
What is writer’s block? According to Wikipedia, Writer's block is a condition, primarily associated with writing as a profession, in which an author loses the ability to produce new work. The condition varies widely in intensity. It can be trivial, a temporary difficulty in dealing with the task at hand. At the other extreme, some "blocked" writers have been unable to work for years on end, and some have even abandoned their careers. It can manifest as the affected writer viewing their work as inferior or unsuitable, when in fact it could be the opposite.
The problem I have with this mythical condition is author loses the ability to produce. Really, why? Does he not still function in life, does he not still have hands and fingers. A more correct definition would possible be loses the desire to write. For whatever reason a writer hides behind this condition, there are possible ways to break out, and the writer has the ability to do so if so desires.
Please – I’m not bashing anyone who thinks they have this condition.
I’m simply offering a solution to overcome it, because quite honestly it’s in your head. And to me, to lose the ability, suggests physical limitations. The brain is a wonderful tool and should be used to your best ability.
If you’ve lost your desire to write, and just don’t want to do it anymore, this is your choice. But, please quit saying its writer’s block. So many new writers are hiding behind this wall instead of facing the truth. Which might include: it’s too hard, I don’t have time to concentrate on this right now, I don’t know which road to take my characters down, and the list goes on and on.
Free writing – this is a wonderful method of loosening up you creative muscles. Set a timer for 10 to 15 minutes and just start writing. It doesn’t matter what, just type or write whatever comes to mind.
Character Interviews – Stuck on where to take your character or what reaction he should have in the next scene. Stick him in a chair and grill him. Ask him anything, he’ll answer. You’d be surprised what can happen when you face your character one on one.
Change Method/Location – Write if you normally type, or vice versa. Move to the kitchen, outdoors, or even jump in the bath. A change of scenery may be just what your muse needs.
Make a list of what’s bothering you – You’ve set up the first five scenes and something isn’t right? Start listing possible problems and solutions.
Sleep on it – This is a wonderful method but beware of becoming too dependent on it. You sure don’t want to sleep every time you get stuck. I’d suggest using this as a method to go with your normal sleeping routine. Before you go to bed, run the last scene through your mind, and during the night answers may appear. Place a pad and paper close by though because your muse has no respect for your sleep, she’ll appear anytime she’s ready.
Feel free to share your favorite method to overcome what some call writer’s block.
The problem I have with this mythical condition is author loses the ability to produce. Really, why? Does he not still function in life, does he not still have hands and fingers. A more correct definition would possible be loses the desire to write. For whatever reason a writer hides behind this condition, there are possible ways to break out, and the writer has the ability to do so if so desires.
Please – I’m not bashing anyone who thinks they have this condition.
I’m simply offering a solution to overcome it, because quite honestly it’s in your head. And to me, to lose the ability, suggests physical limitations. The brain is a wonderful tool and should be used to your best ability.
If you’ve lost your desire to write, and just don’t want to do it anymore, this is your choice. But, please quit saying its writer’s block. So many new writers are hiding behind this wall instead of facing the truth. Which might include: it’s too hard, I don’t have time to concentrate on this right now, I don’t know which road to take my characters down, and the list goes on and on.
Free writing – this is a wonderful method of loosening up you creative muscles. Set a timer for 10 to 15 minutes and just start writing. It doesn’t matter what, just type or write whatever comes to mind.
Character Interviews – Stuck on where to take your character or what reaction he should have in the next scene. Stick him in a chair and grill him. Ask him anything, he’ll answer. You’d be surprised what can happen when you face your character one on one.
Change Method/Location – Write if you normally type, or vice versa. Move to the kitchen, outdoors, or even jump in the bath. A change of scenery may be just what your muse needs.
Make a list of what’s bothering you – You’ve set up the first five scenes and something isn’t right? Start listing possible problems and solutions.
Sleep on it – This is a wonderful method but beware of becoming too dependent on it. You sure don’t want to sleep every time you get stuck. I’d suggest using this as a method to go with your normal sleeping routine. Before you go to bed, run the last scene through your mind, and during the night answers may appear. Place a pad and paper close by though because your muse has no respect for your sleep, she’ll appear anytime she’s ready.
Feel free to share your favorite method to overcome what some call writer’s block.
Wednesday, September 28, 2011
Tuesday, September 27, 2011
What makes a great opening line?
What makes a great opening line?
One of the most stressed pieces of advice is make your opening line count. If not, grab them in the first paragraph. So the question is what makes a great opening line?
It seems if you can do these four things in the matter of the first sentence, you’ve got yourself a killer opening.
1) Set the tone for the book
2) Set the scene
3) Introduce the hero/heroine – and if you can at least one obstacle
4) Create a question the reader has got to get answered
So, how are you supposed to fit all this information within one sentence, or even one paragraph? Let’s see if we can discover how.
The Restorer by Amanda Stevens
I was nine when I saw my first ghost.
• The tone – You put ghost in the mix, and you should probably expect some darkness right?
• The scene – Ms. Stevens misses this one with her first line.
• Intro of hero/heroine – We may not know the character’s name, but we know she sees ghost, which is sure to be an obstacle.
• Create a question – Who is this person, and why can she/he see ghosts? What kind of life would you have if you could see ghosts?
Overall, I’d say this is a good first line. I want to read more to find out more about the character and whether the ghosts are good or bad.
Prior Bad Acts by Tami Hoag
He knew before he entered the house that day that something was very wrong.
• The tone – Successfully suspenseful wouldn’t you say?
• The scene – We are outside, about to step into a house – where something is wrong.
• Intro of hero/heroine – He is introduced, and most likely whatever is wrong will be an obstacle.
• Create a question – What is wrong, and why does the character suspect anything is wrong at all?
Overall, I’d say we have another good line. I want to read on to find out what’s wrong in the house.
Faces by Martina Cole
Mary Cadogan was lying on her bed.
• The tone - ?
• The scene – We are in a bedroom.
• Intro of hero/heroine – Mary Cadogan, but no obstacle.
• Create a question - ? Don’t see one.
Let’s give this writer a chance – She was frightened, but then she was always frightened. Frightened her husband would get nicked, and even more frightened that he wouldn’t.
• The tone – A little more clear now, I’d expect dark things are to follow.
• The scene – Again, we are in the bedroom.
• Intro of hero/heroine – She is introduced and we know for certain she is frightened. Her husband seems most likely an obstacle.
• Create a question – Why is she so frightened of her husband? If she’s so afraid, why is she just lying on the bed?
Overall, we have an okay opening. Would I read further? It’s an iffy with this one. I can pretty much guess why she’s afraid of the husband, so the next two pages would have to be extremely catchy before I’d dig into the rest of the book. Also, notice the repetition. As mention on last Friday’s post, repetition can kill but when used correctly it can present key text to the story. In my opinion this is overkill. What do you think?
Take a look at your opening line/paragraph, do you achieve these four elements, or are you missing them? To be fair, most would read at least the first full page, but if you can grab them in the first sentence and keep them hooked, you just made a sale.
Feel free to share your thoughts on these three examples, or even present your own. Are there other elements you feel should be present?
Happy Tuesday.
One of the most stressed pieces of advice is make your opening line count. If not, grab them in the first paragraph. So the question is what makes a great opening line?
It seems if you can do these four things in the matter of the first sentence, you’ve got yourself a killer opening.
1) Set the tone for the book
2) Set the scene
3) Introduce the hero/heroine – and if you can at least one obstacle
4) Create a question the reader has got to get answered
So, how are you supposed to fit all this information within one sentence, or even one paragraph? Let’s see if we can discover how.
The Restorer by Amanda Stevens
I was nine when I saw my first ghost.
• The tone – You put ghost in the mix, and you should probably expect some darkness right?
• The scene – Ms. Stevens misses this one with her first line.
• Intro of hero/heroine – We may not know the character’s name, but we know she sees ghost, which is sure to be an obstacle.
• Create a question – Who is this person, and why can she/he see ghosts? What kind of life would you have if you could see ghosts?
Overall, I’d say this is a good first line. I want to read more to find out more about the character and whether the ghosts are good or bad.
Prior Bad Acts by Tami Hoag
He knew before he entered the house that day that something was very wrong.
• The tone – Successfully suspenseful wouldn’t you say?
• The scene – We are outside, about to step into a house – where something is wrong.
• Intro of hero/heroine – He is introduced, and most likely whatever is wrong will be an obstacle.
• Create a question – What is wrong, and why does the character suspect anything is wrong at all?
Overall, I’d say we have another good line. I want to read on to find out what’s wrong in the house.
Faces by Martina Cole
Mary Cadogan was lying on her bed.
• The tone - ?
• The scene – We are in a bedroom.
• Intro of hero/heroine – Mary Cadogan, but no obstacle.
• Create a question - ? Don’t see one.
Let’s give this writer a chance – She was frightened, but then she was always frightened. Frightened her husband would get nicked, and even more frightened that he wouldn’t.
• The tone – A little more clear now, I’d expect dark things are to follow.
• The scene – Again, we are in the bedroom.
• Intro of hero/heroine – She is introduced and we know for certain she is frightened. Her husband seems most likely an obstacle.
• Create a question – Why is she so frightened of her husband? If she’s so afraid, why is she just lying on the bed?
Overall, we have an okay opening. Would I read further? It’s an iffy with this one. I can pretty much guess why she’s afraid of the husband, so the next two pages would have to be extremely catchy before I’d dig into the rest of the book. Also, notice the repetition. As mention on last Friday’s post, repetition can kill but when used correctly it can present key text to the story. In my opinion this is overkill. What do you think?
Take a look at your opening line/paragraph, do you achieve these four elements, or are you missing them? To be fair, most would read at least the first full page, but if you can grab them in the first sentence and keep them hooked, you just made a sale.
Feel free to share your thoughts on these three examples, or even present your own. Are there other elements you feel should be present?
Happy Tuesday.
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