tag:blogger.com,1999:blog-41566095433256570922024-02-28T23:26:08.502-08:00Writing WarsFighting in the epic struggle between pen and paper.Dmytry Karpovhttp://www.blogger.com/profile/06437937068724245306noreply@blogger.comBlogger33125tag:blogger.com,1999:blog-4156609543325657092.post-54197587074644953312010-12-28T19:23:00.000-08:002010-12-28T21:48:10.355-08:00Whatcha Laughin’ at?<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQb05AX8Dhey93dymKl4uYwY3Y9aCuflXKNr4MiBURNVQhZ0PUzBybvnm-X3Y0QijRxTHEZqftwgdsHfwEOZOAQ2mrjtc32wBqbcd8v85AkH4mHQrvEDYXGjCCu3wIPQs_uH1gYk05v74/s1600/Banana+Peel.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" height="203" id="BLOGGER_PHOTO_ID_5555952094899198370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQb05AX8Dhey93dymKl4uYwY3Y9aCuflXKNr4MiBURNVQhZ0PUzBybvnm-X3Y0QijRxTHEZqftwgdsHfwEOZOAQ2mrjtc32wBqbcd8v85AkH4mHQrvEDYXGjCCu3wIPQs_uH1gYk05v74/s320/Banana+Peel.jpg" style="float: left; height: 203px; margin: 0pt 10px 10px 0pt; width: 320px;" width="320" /></a><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><i>A brief, mostly pointless analysis of humour.</i></div><div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;"><span style="font-size: 12pt;"><o:p> </o:p></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt 36pt;"><br />
<span class="apple-style-span"><b><span style="font-size: 10pt; line-height: 115%;">Jerry</span></b></span><span class="apple-style-span"><span style="font-size: 10pt; line-height: 115%;">: Osgood, I'm gonna level with you. We can't get married at all.</span></span><span class="apple-converted-space"><span style="font-size: 10pt; line-height: 115%;"> </span></span><span style="font-size: 10pt; line-height: 115%;"><br />
<span class="apple-style-span"><b> </b></span></span><br />
<span style="font-size: 10pt; line-height: 115%;"><span class="apple-style-span"><b>Osgood</b>: Why not?</span><span class="apple-converted-space"> </span><br />
<span class="apple-style-span"><b> </b></span></span><br />
<span style="font-size: 10pt; line-height: 115%;"><span class="apple-style-span"><b>Jerry</b>: Well, in the first place, I'm not a natural blonde.</span><span class="apple-converted-space"> </span><br />
<span class="apple-style-span"><b> </b></span></span><br />
<span style="font-size: 10pt; line-height: 115%;"><span class="apple-style-span"><b>Osgood</b>: Doesn't matter.</span><span class="apple-converted-space"> </span><br />
<span class="apple-style-span"><b> </b></span></span><br />
<span style="font-size: 10pt; line-height: 115%;"><span class="apple-style-span"><b>Jerry</b>: I smoke! I smoke all the time!</span><span class="apple-converted-space"> </span><br />
<span class="apple-style-span"><b> </b></span></span><br />
<span style="font-size: 10pt; line-height: 115%;"><span class="apple-style-span"><b>Osgood</b>: I don't care.</span><span class="apple-converted-space"> </span><br />
<span class="apple-style-span"><b> </b></span></span><br />
<span style="font-size: 10pt; line-height: 115%;"><span class="apple-style-span"><b>Jerry</b>: Well, I have a terrible past. For three years now, I've been living with a saxophone player.</span><span class="apple-converted-space"> </span><br />
<span class="apple-style-span"><b> </b></span></span><br />
<span style="font-size: 10pt; line-height: 115%;"><span class="apple-style-span"><b>Osgood</b>: I forgive you.</span><span class="apple-converted-space"> </span><br />
<span class="apple-style-span"><b> </b></span></span><br />
<span style="font-size: 10pt; line-height: 115%;"><span class="apple-style-span"><b>Jerry</b>: I can never have children!</span><span class="apple-converted-space"> </span><br />
<span class="apple-style-span"><b> </b></span></span><br />
<span style="font-size: 10pt; line-height: 115%;"><span class="apple-style-span"><b>Osgood</b>: We can adopt some.</span><span class="apple-converted-space"> </span><br />
<span class="apple-style-span"><b> </b></span></span><br />
<span style="font-size: 10pt; line-height: 115%;"><span class="apple-style-span"><b>Jerry</b>: But you don't understand, Osgood!</span><span class="apple-converted-space"> </span><br />
<span class="apple-style-span"> </span></span><br />
<span style="font-size: 10pt; line-height: 115%;"><span class="apple-style-span">[<i>Pulls off wig</i>]</span><span class="apple-converted-space"> </span><br />
<span class="apple-style-span"><b> </b></span></span><br />
<span style="font-size: 10pt; line-height: 115%;"><span class="apple-style-span"><b>Jerry</b>: I'm a man!</span><span class="apple-converted-space"> </span><br />
<span class="apple-style-span"><b> </b></span></span><br />
<span style="font-size: 10pt; line-height: 115%;"><span class="apple-style-span"><b>Osgood</b>: Well, nobody's perfect!</span></span><br />
<span style="font-size: 10pt; line-height: 115%;"><span class="apple-style-span"> </span><span class="apple-converted-space"> </span></span><span style="font-size: 10pt; line-height: 115%;"> <o:p></o:p></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt 36pt;"><span style="font-size: 10pt; line-height: 115%;"><o:p> </o:p></span></div><div class="MsoNormal"><div class="separator" style="clear: both; text-align: center;"><a href="http://www.cinematicwallpaper.com/wallpaper-classic/Some-like-it-hot_1024.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br />
</a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.moviepostershop.com/some-like-it-hot-movie-poster-1020461120.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://www.moviepostershop.com/some-like-it-hot-movie-poster-1020461120.jpg" width="141" /></a></div><span style="font-size: 12pt; line-height: 115%;"> </span><span style="line-height: 115%;">In the search for funny exchanges in the movies, the one at the end of <i>“Some Like it Hot”</i> is one of the first to come to mind. An ideal manifestation of humour, this back-and-forth between Jack Lemmon and Joe E. Brown was the punch line to the two-hour setup before it. Of course, taken out of context and translated to the page the joke will not nearly have the same effect, especially for those who didn’t find it funny to begin with (a small and cold-hearted demographic indeed). But this only further proves an important point about the paradoxical nature of humour: it’s both elusive and definitive. <o:p></o:p></span></div><div class="MsoNormal" style="text-indent: 36pt;"><br />
<span style="line-height: 115%;">Let me explain. <o:p></o:p></span></div><div class="MsoNormal" style="text-indent: 36pt;"><br />
<span style="font-size: large;"><b><span style="line-height: 115%;">The Model</span></b></span><span style="font-size: large; line-height: 115%;"> </span><br />
<br />
<span style="line-height: 115%;">To illustrate, imagine a bungling comedian telling an unfortunate joke in an overcrowded comedy club. Some people laugh but most sit unmoved. The former attest to the humour’s elusiveness; the latter prove its definitude. <o:p></o:p></span></div><div class="MsoNormal" style="text-indent: 36pt;"><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.clipartpal.com/_thumbs/pd/holiday/halloween/ghost.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="http://www.clipartpal.com/_thumbs/pd/holiday/halloween/ghost.png" width="143" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ever die of laughter?</td></tr>
</tbody></table><b><span style="line-height: 115%;"><span style="font-size: large;">The Explanation</span><o:p></o:p></span></b></div><div class="MsoNormal" style="text-indent: 36pt;"><br />
<span style="line-height: 115%;">The people who laugh must have discovered a hint of an amusing quality in the comedian’s words (unless they are kind souls providing pity laughs). Like beauty, humour is in the eye of the beholder, and also in the ears. Therefore, in its occupation of another sense, humour can be as sensual as beauty at the very least. No wonder girls like funny guys; or maybe it’s just wishful thinking.<o:p></o:p></span></div><div class="MsoNormal" style="text-indent: 36pt;"><br />
<span style="line-height: 115%;">The other part of the audience, the ones silently annoyed at the comedian’s reference to airline peanuts, are, unbeknownst to them, demonstrating the second component of humour duality. After all, the comedy club, one of many, is busy for a reason. Those who do not laugh at this joke will have many opportunities later on; furthermore, they still comprise an audience with a collective fascination for observational stand-up. This is a tried-and-true, age-old style of comedy with similar and recurring themes. The implication here is that there must be something universally right about certain forms and deliveries of humour regardless of how it is individually received.<o:p></o:p></span></div><div class="MsoNormal" style="text-indent: 36pt;"><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.autismcoach.com/Easy_English_Dictionary.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="http://www.autismcoach.com/Easy_English_Dictionary.jpg" width="153" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Yes, apparently, there are levels of difficulty.</td></tr>
</tbody></table><b><span style="line-height: 115%;"><span style="font-size: large;">The Definition</span><o:p></o:p></span></b></div><div class="MsoNormal" style="text-indent: 36pt;"><br />
<span style="line-height: 115%;">Humour is an ingredient in art, a component of expression, an essence of life. It is also somewhat difficult to define, at least by the traditional, unspoken Rules of Definitions, which are as follow: a definition must not employ the defined word in any of its forms to avoid circularity; it may not consist solely of a synonym or a near-synonym of the defined word; it must neither be too broad nor too narrow; and it may not use words more complex than the word to be defined. Together with the duality of humour, this complicates the quest for a definition, but it’s worth a shot.<o:p></o:p></span></div><div class="MsoNormal" style="text-indent: 36pt;"><br />
<span style="line-height: 115%;">Let’s try dissecting humour not based on what it is but by what it results in. If successful, humour usually elicits laughter. Frequently, laughter is called the best medicine; would that make humour, then, a medicinal source? On the other hand, physically, laughter is the audible constriction of the larynx by the epiglottis. This sounds more like a disease, which contradicts laughter’s pathological benefits. Perhaps the humour pill has side effects.<o:p></o:p></span></div><div class="MsoNormal" style="text-indent: 36pt;"><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://t3.gstatic.com/images?q=tbn:LHd7Z7M_YJ6FsM:http://i220.photobucket.com/albums/dd290/typicalidiotfan/serioussmiley-1.png&t=1" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="http://t3.gstatic.com/images?q=tbn:LHd7Z7M_YJ6FsM:http://i220.photobucket.com/albums/dd290/typicalidiotfan/serioussmiley-1.png&t=1" width="199" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Does this still qualify as a <i>smiley</i>?</td></tr>
</tbody></table><span style="line-height: 115%;">In all seriousness, there are some fundamental issues with defining humour through laughter. What if not everyone reacts the same way to a joke, as is rather common, like in the comedy club illustration? Or what if the reaction - nervous laughter, for instance</span> <span style="line-height: 115%;">- is not to something inherently funny? Furthermore, not all forms of humour require laughter; some simply require acknowledgment, especially jokes of the wry or dry variety.<o:p></o:p></span></div><div class="MsoNormal" style="text-indent: 36pt;"><br />
<span style="line-height: 115%;">Defining humour on its own merits is even more problematic, as it only results in larger metaphysical questions surrounding what is funny, and who is that judge of that, and usually ensues in a heated arguments that culminate with the line “Who are you to say otherwise?” Therefore, I’m going to take the easy way out (leave the water dry, so to speak), and say that humour is, simply, whatever one makes of it. <o:p></o:p></span></div><div class="MsoNormal" style="text-indent: 36pt;"><br />
<span style="line-height: 115%;">Oh well. It was worth a shot.<o:p></o:p></span></div><div class="MsoNormal" style="text-indent: 36pt;"><br />
<span style="line-height: 115%;">Or perhaps you’d like Rowan “Mr. Bean” Atkinson’s idea of how to elicit laughter? In the documentary “Funny Business,” he claimed that one can be funny by behaving in an unusual way, by being in an unusual place, or by being the wrong size.<o:p></o:p></span></div><div class="MsoNormal" style="text-indent: 36pt;"><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.timeoutsydney.com.au/comedy/large-bestof-comedy-36.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="111" src="http://www.timeoutsydney.com.au/comedy/large-bestof-comedy-36.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">If we're being scientific, this tells all the jokes.</td></tr>
</tbody></table><span style="font-size: large;"><b><span style="line-height: 115%;">The Summary</span></b></span><span style="line-height: 115%;"><o:p></o:p></span></div><div class="MsoNormal" style="text-indent: 36pt;"><br />
<span style="line-height: 115%;">In some instances, humour is misplaced; in others, it’s complementary. Sometimes it’s desired and sometimes it’s required. What would we be without some relief from the general seriousness of day-to-day life? A sense of humour and an opportunity to experience it is one of the few things some people have left. At its best, humour pleases us; at its worst it offends us. Some may criticize comedies or jokes about taboo or sombre subjects like war. Then what subjects should be acceptable and what should be off-limits? What are <i>you </i>laughing at? Answers will vary. After all, humour is in the eye and the ear and the mind of the beholder.</span><br />
<br />
<span style="line-height: 115%;">And nobody’s perfect. </span><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.likecool.com/Gear/Pic/Clown%20Mushroom%20Cloud/Clown-Mushroom-Cloud.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="212" src="http://www.likecool.com/Gear/Pic/Clown%20Mushroom%20Cloud/Clown-Mushroom-Cloud.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This scares me.</td></tr>
</tbody></table><br />
<span style="line-height: 115%;"></span><br />
<span style="line-height: 115%;"><o:p></o:p></span></div>Ilanhttp://www.blogger.com/profile/00172240277069502577noreply@blogger.com6tag:blogger.com,1999:blog-4156609543325657092.post-59049777836794435702010-12-21T12:14:00.000-08:002010-12-21T13:53:15.338-08:00Hammer or Stiletto?<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.danscottart.com/Images/HammerOfRagnaros.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="256" src="http://www.danscottart.com/Images/HammerOfRagnaros.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Yes, this hammer is awesome. But it's not a good writing tool.</td></tr>
</tbody></table><i>A Guest Post by the Ranting Griffin </i><br />
<br />
Are you driving your point home with a hammer, or stiletto? Are you overindulging in the use of his, hers, and theirs? Yeah, them possessive pronoun-thingies.<br />
<br />
I struggle daily with the over-utilization of his, hers and theirs. They choke the first draft, make it constipated, bloated with words that do nothing to further the tale. <br />
<br />
In the end, I am left with a stinking pile I must reform, refine, pick the corn from, and make into something resembling a tale someone might wish to read (And even buy, perhaps? Please, pretty-please, God?). <br />
<br />
<span style="font-size: large;"><b>Cutting the use of such words makes for leaner prose and makes me search for another, possibly better, way to say what I mean to convey. This can stimulate writing to new heights.</b></span><br />
<br />
An Example:<br />
<br />
He stepped into the cold, his jacket his shield against the elements.<br />
<br />
Now, tighter:<br />
<br />
He stepped into the cold, jacket a shield against the elements.<br />
<br />
Now, the first use of 'his' we can do away with because the reader knows and understands we are only talking about one person. The second 'his' I slaughter simply because I can. Besides, 'a' is shorter than 'his', and shorter is often tighter! <br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://cache2.artprintimages.com/p/LRG/26/2676/M3CUD00Z/art-print/robert-franz-grey-wolf-howling-canis-lupus.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="http://cache2.artprintimages.com/p/LRG/26/2676/M3CUD00Z/art-print/robert-franz-grey-wolf-howling-canis-lupus.jpg" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Wolves and writing always coincide.</td></tr>
</tbody></table>Another:<br />
<br />
The wolves howled, their song unwinding along the valley floor, their warning to their enemies and their greeting to their friends.<br />
<br />
<span style="font-size: large;"><b>Now, for the joyous slaughter:</b></span><br />
<br />
The sound of wolves howling unwound along the valley floor, a warning to enemies and greeting to friends.<br />
<br />
See, I removed all five of the 'theirs' in that original sentence. (Mind you, I was being extreme, putting all those theirs in there in the first place.) I even did away with an 'a' I might have used, just to show that meaning can be conveyed with fewer words. We already know we are talking about wolves, we don't need to be hammered in the head with the who or what.<br />
<br />
A last, longer example of this:<br />
<br />
Gerard was almost surprised by how well he fought, his blade flashing through the weak defense of his opponent with the ease his teachers had told him his training would provide. <br />
<br />
The other man kept trying, though, his clumsy strikes easily parried away by Gerard's superior defense. <br />
<br />
Eventually Gerard slipped in the bout-ending blow, his blade sliding past his guard and into the other man's belly.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://gamesnet.vo.llnwd.net/o1/gamestar/objects/182954_main.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="http://gamesnet.vo.llnwd.net/o1/gamestar/objects/182954_main.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This armor would have helped Broog.</td></tr>
</tbody></table>Now, fixed, fast:<br />
<br />
Gerard's blade flashed through the weak defense of his opponent, just as Broog told him it would every time they trained together.<br />
<br />
The man was game though, and kept coming, clumsy strikes easily parried by Gerard's superior skills.<br />
<br />
Eventually Gerard's sword slipped past the other man's guard and into his belly, ending the bout.<br />
<br />
<span style="font-size: large;"><b>You may now say, "Wait a sec, he just used a his there!"</b></span><br />
<br />
To which I reply, "Yup, sure did."<br />
<br />
I did not, however, over-use the word. I do not use a hammer. I use a stabbing point, to penetrate, add value. The speed and flow of the narrative is preserved, without confusing things as to what belongs to whom.<br />
<br />
You must have confidence that your writing will be understood without the crutch of identifiers and qualifiers, as such words can detract from the flow of the piece. This is especially important for action sequences and dialogue.<br />
<br />
Stab this in the heart every time, and you'll be hammering out quality work in short order.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.militaria.pl/upload/wysiwyg/gfx/produkty/9/noz_uc_knights_dagger_UC1144_w.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="156" src="http://www.militaria.pl/upload/wysiwyg/gfx/produkty/9/noz_uc_knights_dagger_UC1144_w.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stab your page with this for maximum results.</td></tr>
</tbody></table><div></div><div><b>The Ranting Griffin:</b><br />
<br />
Born in the seventies, lived in more than one country, more than one time. I speak more than one language. My day job with a major municipality involves guns, cuffs, writing reports, and criminals.<br />
<br />
I have been an avid roleplayer most of my life, and it was writing for Twilight 2013, a 93 Games Studio product, that I was first published last year. I've been writing novels for the last five years, I have an agent, and The Last Captain, my science fiction crime thriller/police procedural, is currently resting on a publisher's desk, ready to be read. I don't claim to be a writing genius, I just know what worked for me in securing representation and those all important first publication credits.<br />
<br />
<i>Trust me. Griffin is awesome. Check out his equally impressive site: <a href="http://therantinggriffin.blogspot.com/">http://therantinggriffin.blogspot.com/</a></i> </div>Dmytry Karpovhttp://www.blogger.com/profile/06437937068724245306noreply@blogger.com6tag:blogger.com,1999:blog-4156609543325657092.post-11594762787410708172010-12-19T20:13:00.000-08:002010-12-20T01:02:15.149-08:00'Twas the Night Before Writing<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://devcentral.f5.com/weblogs/images/devcentral_f5_com/weblogs/macvittie/WindowsLiveWriter/YouCantTeachanOldAdminNewTricks_CC2C/dog-bone_2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="188" src="http://devcentral.f5.com/weblogs/images/devcentral_f5_com/weblogs/macvittie/WindowsLiveWriter/YouCantTeachanOldAdminNewTricks_CC2C/dog-bone_2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This dog revolutionized his bone catching technique.</td></tr>
</tbody></table><span style="font-size: large;"><b>An Old Trick</b></span><br />
<br />
Ever wonder how writers write those beautiful, evocative descriptions?<br />
<br />
Simple. They have a special technique. Use it, and your writing will improve tenfold.<br />
<br />
Don't believe me? Just wait until you put it into practice. In fact, some of you probably already do. But for those who don't, here's the tip that will revolutionize your writing.<br />
<br />
Avoid the word <i>was</i>. Avoid it like a room full of your exes. <br />
<br />
Think twice before you use it and then twice about deleting it.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://fffmks.files.wordpress.com/2010/02/evil-book.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="168" src="http://fffmks.files.wordpress.com/2010/02/evil-book.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">You do not know the evil in your words.</td></tr>
</tbody></table><span style="font-size: large;"><b>Hidden Evil </b></span><br />
<br />
Ever heard of grocery-list descriptions? Those boring, sigh inducing lines of adjectives? If you haven't, here's one: "He was handsome, with blue eyes, a brown coat, and blue jeans." <br />
<br />
Amateurish sounding writing, right? Notice something about it? Notice the <i>was</i> near the beginning of the sentence?<br />
<br />
Take it out and restructure the sentence using actions, verbs.<br />
<br />
"He leaned against the wall, his brown coat and blue jeans marring the white marble, his eyes chaotic like the sea."<br />
<br />
Fancy, but not over the top. Avoiding <i>was</i> will make your writing more engaging and original. It will push you to create beautiful lines of description and short, active sentences. <br />
<br />
For example, "He smiled," is much more effective than "He was smiling." It pulls the reader in, puts them in-the-moment.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.photoshop-dragon.com/Tutorials/Text_Effects/Images/Text_on_Fire/step9.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="http://www.photoshop-dragon.com/Tutorials/Text_Effects/Images/Text_on_Fire/step9.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Handle <i>was </i>like you would this word.</td></tr>
</tbody></table><span style="font-size: large;"><b>Playing With Fire</b></span> <br />
<br />
Now, sometimes you should use <i>was</i>.<br />
<br />
"He was going to die before night fall," is an effective and appropriate use of that <i>almost</i> forbidden word. <br />
<br />
But other times, resist the urge to defile your prose with heathen diction. <br />
<br />
Your writing <i>was</i> good.<br />
<br />
Now, it will be great.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://curiousoddities.files.wordpress.com/2008/05/european-souvenir-kit-c-1910.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="281" src="http://curiousoddities.files.wordpress.com/2008/05/european-souvenir-kit-c-1910.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The <i>was </i>removal kit.</td></tr>
</tbody></table>Dmytry Karpovhttp://www.blogger.com/profile/06437937068724245306noreply@blogger.com7tag:blogger.com,1999:blog-4156609543325657092.post-33034608209995939372010-11-16T13:25:00.000-08:002010-12-19T18:54:35.937-08:00And then he saw...Blah, Blah, Blah<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://farm2.static.flickr.com/1094/984405951_34580c3cb9.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="254" src="http://farm2.static.flickr.com/1094/984405951_34580c3cb9.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">They should make more of these.</td></tr>
</tbody></table><span style="font-size: large;"><b>Brevity is Key</b></span><br />
<br />
Shorter is always better when it comes to writing. Makes things less redundant, faster to read, cheaper to publish. The benefits of brevity are overwhelming.<br />
<br />
So, keep your work as tight as possible.<br />
<br />
<span style="font-size: large;"><b>A Common Error </b></span><br />
<br />
I see many writers making a common mistake these days. Even professionals.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://l.thumbs.canstockphoto.com/canstock3933630.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://l.thumbs.canstockphoto.com/canstock3933630.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Don't push the red button.</td></tr>
</tbody></table>When you're writing from one character's POV you don't have to tell me "he looked," or "he felt," or "he heard." I already know that. Everyone knows that.<br />
<br />
We're in the character's head. If a car is being described, we know he or she is looking at it. If its engine roars, we know he or she is listening. If its door handle is smooth, we know he or she is feeling.<br />
<br />
Why state the obvious? Why state it multiple times?<br />
<br />
There's no reason. Don't even waste time coordinating your brain cells to find one.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://www.cold-moon.com/images/Motivators/Alignments/GoodVsEvil.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://www.cold-moon.com/images/Motivators/Alignments/GoodVsEvil.jpg" width="256" /></a></div><span style="font-size: large;"><b>It's Better</b></span><br />
<br />
In case you're still tempted to write all those things I just said you shouldn't, let's look at a few examples.(Actually, let's just look at one.)<br />
<br />
<b>Bad Way:</b> "He looked at the black car, heard its engine roar, felt the wind lash out at him as it sped past. He coughed, tasting the black exhaust on his tongue."<br />
<br />
(Wow. That was just horrible) <br />
<br />
<b>Good way: </b>"The black car sped past him, engine roaring, its trail of wind lashing out. He coughed, black exhaust on his tongue." <br />
<br />
(That was so beautiful.)<br />
<br />
<span style="font-size: large;"><b>Concession</b></span><br />
<br />
To be fair, there is nothing "wrong" about using "he/she looked" or "he/she heard," or "he/she felt," when describing the POV. That's why most writers do it. Why they keep doing it.<br />
<br />
But there is NOTHING effective about it.<br />
<br />
So unless you are describing other characters, avoid those phrases like a rattle snake in the desert.<br />
<br />
And keep your writing tight. Keep your writing great.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://helioshealings.com/images/rattle_snake.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://helioshealings.com/images/rattle_snake.jpg" width="297" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">It may look nice. It isn't.</td></tr>
</tbody></table>Dmytry Karpovhttp://www.blogger.com/profile/06437937068724245306noreply@blogger.com7tag:blogger.com,1999:blog-4156609543325657092.post-20014022437523673852010-10-19T11:25:00.000-07:002010-11-08T16:07:15.995-08:00The Social Network<a href="http://www.digitaltrends.com/wp-content/uploads/2010/10/The-Social-Network-movie-poster-1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://www.digitaltrends.com/wp-content/uploads/2010/10/The-Social-Network-movie-poster-1.jpg" width="216" /></a><span style="font-size: large;"><b>The Facebook Movie</b></span><br />
<br />
So the other day, the Writing Wars team got together and went to see The Social Network – the recent “facebook” movie. We all went in with different expectations but came out in absolute awe. <br />
<br />
Personally, I am not a big fan of non-fiction and am somewhat prejudiced towards them. I was prejudiced towards the Network as well. But David Fincher had me pleasantly surprised. <br />
<br />
And how? The Social Network has everything “bad” you would expect in non-fiction. It’s completely deprived of special effects, any kind of “cool” action, and it’s painfully restricted to “telling a story” <br />
<br />
Also, you don’t really see anything you won’t see in life anyway (ex: no elves, no bank robberies, etc)<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://www.blogcdn.com/www.massively.com/media/2009/06/no-elves.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://www.blogcdn.com/www.massively.com/media/2009/06/no-elves.jpg" /></a></div><b><span style="font-size: large;">No Elves? Impossible </span></b><br />
<br />
So, how is The Social Network successful? I’ll tell you. The Social Network has excelled at every aspect it could at – the acting, the directing, the choice of cast, and even the script, unoriginal though it was, has left me very happy. <br />
<br />
The actors do a terrific job at delivering their parts, Jesse Eisenberg in the lead and Andrew Garfield in the role of Eduardo Saverin. <br />
<br />
The idea itself is very smart; almost all teens in North America have facebook accounts and therefore would be drawn to anything facebook-related.<br />
<br />
And drawn they were. I mean, $23 million in its first weekend? For a non-fiction, that’s huge! <br />
<br />
And even though the plot is based on a true story, it was dramatized for effect and rightly so. The key thing that Social Network has that most non-fiction movies don’t is: fun. <br />
<br />
The Social Network is made for entertainment, not for education, and that’s what makes it awesome.<br />
<br />
<br />
Of course, like anything out there, the movie also has flaws. And they struck me pretty hard. <br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://farm1.static.flickr.com/9/13122681_0f63652d31.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="http://farm1.static.flickr.com/9/13122681_0f63652d31.jpg" width="320" /></a></div><span style="font-size: large;"><b>Minor Nuisances </b></span><br />
<br />
First of all, some parts of the movie are just plain annoying. Those were the times when I would sit there, listen to dialogue, and be like “man, where is the action? Why is there NOTHING HAPPENING?” <br />
<br />
I would also comment on the overall “dramatization” of the script. Like I said before, the movie doesn't have a “this is out-of-this-world” feeling, which is normal for non-fiction. But, some parts of the script leave you thinking “ok, this did NOT happen like that!” <br />
<br />
So, there’s kind of a gap between realism and unrealism, which is not good. <br />
<br />
But overall, this film is a masterpiece. So, go my readers, spend the $11.75, and watch the Social Network. You have my personal word that it’ll be worth it. And if not – write me in the comments, write about what you thought of the movie, and we can discuss the aspects. <br />
<br />
Peace out <br />
<br />
Will RockWill Rockhttp://www.blogger.com/profile/14557136676021782391noreply@blogger.com7tag:blogger.com,1999:blog-4156609543325657092.post-86127457547474228782010-10-18T17:32:00.000-07:002010-10-18T17:32:10.356-07:00Apology and All That's New.<div class="separator" style="clear: both; text-align: center;"><a href="http://chrustik29.files.wordpress.com/2008/05/sorry.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="http://chrustik29.files.wordpress.com/2008/05/sorry.jpg" width="400" /></a></div>First, I'd like to apologize for the recent lack of posts. You see, a few weeks ago life showed up at the door, and I've been busy ever since. However, my time is finally freeing up, so you can expect awesome posts coming your way anytime now.<br />
<br />
Here's what the team and I have in store for you: <br />
<br />
A review of "The Social Network." (It's better than you think--trust me.)<br />
<br />
A review of "The Town." (It's also probably better than you think.)<br />
<br />
And for all of you writers out there: how do you keep writing fresh dialogue page after page after page?<br />
<br />
Write in between the lines.<br />
<br />
Sound confusing? Good. That means I can write an entire post about it.<br />
<br />
Now, make the best out of this absence of new posts and go read the old ones. Didn't you know they're all works of literature with multiple layers of meaning? <br />
<br />
Okay, fine. They're all simple and straight forward. But still, enjoy your time on the blog.<br />
<br />
See you in the next post. Gotta get back to writing it.Dmytry Karpovhttp://www.blogger.com/profile/06437937068724245306noreply@blogger.com2tag:blogger.com,1999:blog-4156609543325657092.post-67186251681510478962010-10-18T17:27:00.000-07:002010-11-22T12:53:46.166-08:00Getting Back Into The Game<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVA-nUA0R-fXEAftbQZP2PTGnXryIV-vyXwLqu5fYnMuTVVYNnOqCKRr37y8yQKRFi48TmesKs6w8g8M4UnIRmvK0dxgeByarEaZtlyRczO_0HBxIAlG3AcQ8AMUWI8XgV-r6SN7omNRY/s1600/back_to_work.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5525098391551116642" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVA-nUA0R-fXEAftbQZP2PTGnXryIV-vyXwLqu5fYnMuTVVYNnOqCKRr37y8yQKRFi48TmesKs6w8g8M4UnIRmvK0dxgeByarEaZtlyRczO_0HBxIAlG3AcQ8AMUWI8XgV-r6SN7omNRY/s400/back_to_work.jpg" style="cursor: pointer; float: left; height: 323px; margin: 0pt 10px 10px 0pt; width: 398px;" /></a> We all have our lives. Unless you are a full time professional writer, things will come up now and then that will prevent you from writing for days, weeks, sometimes even months. And even full time authors will face delays sometimes (ex: vacation, sick days, etc). <br />
<br />
When you take a long break, you may find that once you try to restart your writing, you don't restart at the same level you left off with. Today, I will teach you how to come back most effectively. <br />
<br />
Conceptually speaking, writing is something between working out and math.<br />
<br />
<a name='more'></a> When you don't work out for long, you get weaker and simply can't handle the load you could before. And what you must do is go back to where you were before, and slowly work your way upwards. In writing, it's not that extreme, but the principals remain. In the gym, you would either lift less weight and/or do less reps. Same thing in writing. If you were in the middle of a complicated novel that you worked on 3 hours/day and then you took a 3 week break, don't go straight back to writing it. Spend 1 hour writing a poem or a short story, and then call it a day. The following day, spend 2 hours, either on short stories or on outlines, or on anything else that you believe will warm you up. After 2-4 days you will feel a lot more confident; your writing will get sharper, and you'll find that working on that book 3 hours/day is no longer an issue! <br />
<br />
That is of course, if you also follow concept number two. <br />
<br />
Math (or any science really, I just find math the most straightforward example) covers the theoretical component of writing, whereas gym covers the practical aspect. If you don't do math for days, weeks, or even years, you will not lose anything you've already achieved. What you will lose is: speed and efficiency in the short term and ability to perform complex operations in the long term. And how do you deal with that in math? You review your notes. <br />
<br />
It's exactly the same in writing. After a leave of absence you'll see that your words per hour have decreased, and that you handle things (ex: dialogue, descriptions...) in an unruly/amateur way. A longer leave will usually make you very unsatisfied with your writing. And how do you solve this? Review your notes. <br />
<br />
A simple readover of your outline will go a long way. Think creatively on what is best for you and review! You in the middle of a novel? Re-read the last 2,000 words and all that stuff will become fresh in your head. Trying out a short story? Read some other ones you wrote! Can't get one specific part down? Identify what you're having trouble with (ex: showing/telling problems), and maybe go online and read up on some tips. These little things will solve problems that seem overwhelming and will make your life a lot easier. <br />
<br />
So these are the two main concepts you need to know to effectively get back at writing. The math concept is slightly more important, since writing is more theoretical than practical. Also, the gym concept will solve itself anyway, since you'll work as much as you can and then be forced to stop. But if you just push yourself without warmup, it will be more difficult to write and you will waste time. Always warm up after a leave and don't push it. Anything that you force yourself to write will not be at it's best. <br />
<br />
Well, I think that's about it for today. Got to go back to doing nothing. The best passtime of them all. <br />
<br />
Have fun writing, <br />
<br />
Will RockWill Rockhttp://www.blogger.com/profile/14557136676021782391noreply@blogger.com9tag:blogger.com,1999:blog-4156609543325657092.post-42736659184531885142010-10-03T20:51:00.000-07:002010-11-22T12:54:18.271-08:00The Popular Kid<div class="separator" style="clear: both; text-align: center;"><a href="http://sivers.org/images/high-school.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="http://sivers.org/images/high-school.gif" width="370" /></a></div>One of the easiest ways to make a character likable to your readers is to make him (or her) likable to other characters. <br />
<br />
Why does this work? Simple.<br />
<br />
A popular character is praised by others. Praise is something that most human beings desire and want for themselves. If a character is popular, he/she is fulfilling the readers wish to be popular.<br />
<br />
Remember wish fulfillment? It's important that your character doesn't abuse the wish. If he's/she's popular, he/she should not use his popularity to achieve cruel or selfish things.<br />
<br />
<br />
<br />
<br />
<br />
<a name='more'></a><br />
<br />
<br />
<br />
Instead, a character who helps those that praise and love him will be even more likable than if he were simply popular.<br />
<br />
Also, popularity often comes with power. Power is an interesting quality, so having a popular villain is something to consider.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://www.cartoonstock.com/lowres/dro0770l.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="345" src="http://www.cartoonstock.com/lowres/dro0770l.jpg" width="400" /></a></div><br />
In general, combining the wish fulfilling popularity, the likable quality of helping others, and the interesting quality of power is easy and results in a highly likable character. <br />
<br />
Just make sure your popular character isn't a self absorbed brat. We all know what those are like: yuck!<br />
<br />
<div class="separator" style="clear: both; text-align: center;"> <a href="http://www.cartoonstock.com/lowres/epa0087l.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="380" src="http://www.cartoonstock.com/lowres/epa0087l.jpg" width="400" /></a></div><br />
Unless of course he (or she) is a villain. Then yuck might be exactly what your aiming for. <br />
<br />
If you want examples of popular likable characters, look at Aragorn from "The Lord of The Rings" and Harry Potter from (you guessed it) "Harry Potter." Other characters just can't stop praising these two.Dmytry Karpovhttp://www.blogger.com/profile/06437937068724245306noreply@blogger.com3tag:blogger.com,1999:blog-4156609543325657092.post-26354637629149982862010-09-29T12:56:00.000-07:002010-11-22T12:55:14.542-08:00Likable Characters<div class="separator" style="clear: both; text-align: center;"><a href="http://www.frakincool.com/images/mp-awesome.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="340" src="http://www.frakincool.com/images/mp-awesome.jpg" width="400" /></a></div><div><span style="font-size: large;"><b>Likable Characters</b></span></div><div><br />
</div><div>How do you create likable characters?</div><div><br />
</div><div>First, let's discern the difference between a likable character and an interesting character. A likable character is someone you would like to have as a friend. An interesting character is someone you want to know more about because of their importance to the plot. Often, effective villains are not likable but are still interesting. First, let's focus on how to make a character likable.</div><br />
<div><span style="font-size: large;"><b>Universal Qualities</b></span></div><div><br />
</div><div>It is widely accepted that there are certain characteristics among people that are appealing. These appealing qualities are things we as human beings respect and wish that we could have as well. These qualities are universal and here are the major ones:</div><br />
<a name='more'></a><br />
<br />
<div><b>Being funny. </b></div><div><br />
</div><div><b>Helping others at your own expense. </b></div><div><br />
</div><div><b>Facing horrible odds, but not giving up.</b></div><div><b><br />
Always doing the right thing morally.</b></div><div><br />
</div><div>These are the most favored qualities. If a character has one of these, they will be extremely likable. Examples of such characters include:</div><div><br />
</div><div><b>Sam</b> from<a href="http://www.amazon.com/Lord-Rings-J-R-Tolkien/dp/0395489326" target="_blank"> The Lord of the Rings</a>. He was voted by many fans to be their favorite character in the entire trilogy. Why? Because he helps others at his own expense. He does this by being a very good friend to Frod. Wouldn't you want a friend like Sam? I would. That's why he is likable. </div><div><br />
</div><div><b>Tyrion</b> from <a href="http://www.amazon.com/A%20Game-Thrones-Song-Fire-Book/dp/0553573403" target="_blank">Song of Ice and Fire.</a>In a series filled with knights and sexy princesses the fan favorite is a misshapen dwarf. Why? Because he is funny. He is the only character in the series who constantly makes jokes and makes his friends laugh. Wouldn't you like a friend who can make you laugh? I would. That's why Tyrion is so awesome. He's also smart, but we'll get to that later.</div><div><br />
</div><div><b>Harry Potter </b>from <a href="http://www.amazon.com/Harry-Potter-Sorcerers-Stone-Book/dp/0590353403" target="_blank">Harry Potter</a>. In a series full of powerful wizards with long flowing beards the favorite character is a little boy who wouldn't know anything without Hermione. Why? Because even though he faces horrible odds, he never gives up. Harry Potter is the one kid in the entire book who faces Voldemort one on one and doesn't say..."Okay. I'm going over to the dark side." No, Harry Potter fights Voldemort even when he's sure the evil wizard will kill him. Wouldn't you want to be able to stare snake face in the eyes and say, "Do your worst." Harry Potter would say it. Now wouldn't you want someone like that as your friend? I would. Ron and Hermione also agree.</div><div><br />
</div><div><b>Eddard </b>from <a href="http://www.amazon.com/Game-Thrones-Song-Fire-Book/dp/0553573403" target="_blank">A Song of Ice and Fire</a>. I wanted to use another example but Eddard is the best. Why? Because he always does the right thing morally. The morally part is important, because characters who always follow the law are not always likable. But characters who follow universal morals, like I will not steal, I will not cheat, I will not kill...are likable. At first, Eddard is even more likable than Tyrion the dwarf, because his strong morals end up getting him into trouble. This makes you feel a lot of empathy towards him, because you remember all of those times when you were trying to do something good, but instead something bad happened. Wouldn't you want a friend who would always do the right thing? He'd never lie to you, unless it was for your own good. He would never steal from you. I'd like such a friend. That is why Eddard is awesome.</div><br />
<div>Those are my examples. In the last one I mentioned empathy, which is very important to understand if you want to write likable characters.</div><div><br />
</div><div><span style="font-size: large;"><b>Empathy </b></span></div><div><br />
</div><div>It is also important to understand the difference between empathy and sympathy.</div><div><br />
</div><div>Empathy is the ability to share an others emotions.</div><div><br />
</div><div>Sympathy is the ability to understand another emotions.</div><div><br />
</div><div>In other words, empathy is, "your mother died? Mine died too. I know it's horrible."</div><div><br />
</div><div>Sympathy is, "your mother died? Mine is alive. But you must feel horrible."</div><div><br />
</div><div>Let me say this. </div><div><br />
</div><div><b>Forget Sympathy. </b></div><div><br />
</div><div>People feel sympathy all the time--they often do so out of courtesy. It's not personal, and you can't relate to it. Empathy is much more rarer. For it is hard to find people who have gone through the same experiences as you. You can understand these people and relate to them. That is why as a writer you want to write scenes that produce empathy in the reader. How?</div><div><br />
</div><div>You put your characters through experiences--common experiences--and you make them behave in a realistic manner. The most common experiences are.</div><div><b><br />
Losing something precious, to either yourself or another. </b></div><div><br />
</div><div><b>Making a bad mistake that ends up hurting someone, or causing them trouble</b>. </div><div><br />
</div><div><b>Offending someone and then apologizing to them.</b></div><div><br />
</div><div><b>Losing a loved one of an older age like a grandfather or grandmother who passes away.</b></div><div><br />
</div><div><b>Succeeding at something that you really wanted to do, and others said you couldn't. </b></div><div><br />
</div><div><b>Being lied to and then feeling hurt.</b></div><div><br />
</div><div><b>Doing things because of peer pressure.</b> </div><div><b><br />
Embarrassing yourself.</b></div><div><br />
</div><div>Those are the most common experiences that I know. Every living person I know has experienced all of these situations. </div><div><br />
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</div><div>If you put your characters through the same situations, your readers are guaranteed to relate to them and care for them. You may have other things in your book like the death of someone in a car accident, which will also create empathy, but only in a few select readers. The car crash should only happen if it necessary to the plot. The situations mentioned above could be added to your novel if you want to make your characters more likable. </div><div><br />
</div><div>These situations can do wonders when it comes to making your characters likable, but only if they resolve each situation positively or learn something from it. Otherwise the reader will hate them.</div><div><br />
</div><div>It is important to note that the way these situations are handled by your characters often depends on the qualities they posses. Characters who posses the four likable qualities will handle the situations in likable manners. This means that the qualities are more important. For the situations act as really good outlets for these qualities but nothing more. </div><div><br />
</div><div>Now that we have looked at likability and empathy, let's let's look at how to make characters interesting.</div><div><br />
</div><div><span style="font-size: large;"><b>Interesting Attributes</b></span></div><div><br />
</div><div>As there are qualities that are likable, their are also qualities that are interesting. These are also universal and the most prominent ones are:</div><div><br />
</div><div><b>Mystery.</b></div><div><br />
</div><div><b>Intelligence.</b></div><div><br />
</div><div><b>Power.</b></div><div><b><br />
Beauty.</b></div><div><br />
</div><div>These qualities make characters interesting. Examples include:</div><div><br />
</div><div><b>Edward </b>from <a href="http://www.amazon.com/Twilight-Book-1-Stephenie-Meyer/dp/0316160172" target="_blank">Twilight</a>. Edward is an interesting character to both Bella and the reader early on in the book. Why? Because he is mysterious. He acts like he has something important to hide, and he won't tell you what it is. Wouldn't you want to find out what he's hiding? Don't you like secrets? I do. That's why Edward is interesting.</div><div><br />
</div><div><b>Palpatine </b>from <a href="http://www.amazon.com/Star-Wars-Trilogy-Widescreen-Bonus/dp/B00003CXCT" target="_blank">Star Wars</a>. In a series filled with nature defying, glow stick wielding jedi and sith, Palpatine is the most interesting. Why? Because he is intelligent. This guy manages to take over the Republic using nothing but smarts. Don't you wonder how he could have devised such a brilliant plan? Do you wonder about what else he might do? I'm wondering, and the jedi were wondering too. So long in fact that they all died before they figured it out. That's why Palpatine is interesting.</div><div><br />
</div><div><b>The Dark One </b>from the <a href="http://www.amazon.com/Eye-World-Wheel-Time-Book/dp/0812511816" target="_blank">Wheel of Time</a>. In a series filled with magical women and harry beasts, the entity known as The Dark One is one of the most interesting characters. Why? Because he is powerful. He can enter your dreams and make you wake up with scars. He can send armies of monsters after you with the intent to kill. If he knows where you are, he can teleport there and kill you. (I am referring to the earlier books.) Doesn't that make you wonder what the Dark One will do next? Why he'll do it? He has enough power to completely change the outcome of his novel. Aren't you afraid? I am, and so was Rand, Mat, and Perrin. That's why they had trouble sleeping. That's why the Dark One is interesting.</div><div><br />
</div><div><b>Cersei </b>from <a href="http://www.amazon.com/Game-Thrones-Song-Fire-Book/dp/0553573403" target="_blank">A Song of Ice and Fire.</a> In a series filled with funny, short men, and noble knights, Cersei manages to capture our interest. Why? Because she is beautiful. Or should I say, sexy as hell. However, beauty, in and of itself, is not an interesting quality. It is only interesting if it gives the character power. So technically, beauty fits into the power quality, however I put it on its own, because there are many characters whose power completely relies on beauty. Like Cersie. She manages to gain an entire councils allegiance by sleeping with half of its members. She nearly manages to seduce our beloved Eddard into giving up his morals and sleeping with her instead. Aren't you interested in who she'll seduce next? Aren't you interested in who she may have already seduced? I am and so was her husband. </div><div><br />
</div><div>Now that we've handled that, let's look at another way of making our characters both interesting and a little likable. </div><div><br />
</div><div><span style="font-size: large;"><b>Wish Fulfillment</b></span></div><div><br />
</div><div>Characters who are or have been doing things that people wish they could are more interesting and likable.</div><div><br />
</div><div>For example, many fantasy readers wish they could use magic. They can't, so they like and are interested in characters who can. Though, they may feel extra hatred towards characters who use magic wrongly.</div><div><br />
</div><div>Wish fulfillment is a bit harder to give examples of then the other techniques, because there are many wishes. The ones you want to focus on are things that are awesome yet unattainable for most people. Like:</div><div><br />
</div><div><b><br />
Being insanely rich.</b></div><div><br />
</div><div><b>Using magic, or other powers.</b></div><div><br />
</div><div><b>Having a rare job. Movie Star, Astronaut...etc.</b></div><div><b>Indestructibility. Immortality.</b></div><div><br />
</div><div>These are the most common things I can think of. And my examples for all of them would be super heroes. Ever wanted to be as rich as Tony Stark/Iron Man? Ever wanted to swing around town like Spider man? Ever wanted to work as one of the X man? Ever wanted to have a bullet bounce off your eye like Superman? I have and so have the millions of fans who support these men in tights. </div><div><br />
</div><div>Now that we have discussed the qualities that make our characters likable and more interesting, let's look at some other things we can do.</div><div><span style="font-size: large;"><b><br />
Character Motivations</b></span></div><div><br />
</div><div>Why do we hate our villains? Because everything they do is for themselves. Why do we love our heroes? Because they do things for others.</div><div><br />
</div><div>In the later Harry Potter books Harry decides to do whatever it takes to fight Voldemort and save the wizarding world. Even give up his life.</div><div><br />
</div><div>See how selfless that motivation is? That is an example of a character helping others, which is one of the four qualities of likability. </div><div><br />
</div><div>Now, to make the character interesting you want a motivation with serious implications. If Harry fails, thousands of people die. If you fail at cooking a pie, you might be hungry for an hour. See the difference. Harry's situation makes me interested in what he will do and whether he will succeed or not. Unless I'm hungry, I don't care about pie. </div><div><br />
</div><div><span style="font-size: large;"><b>Importance</b></span></div><div><br />
</div><div>Another way to make a character interesting, not likable though, is to make them clearly important to the plot and other characters. Let's look at Harry again. He has a close group of friends that care for him, and these friends are also important characters. What happens to Harry will also effect them. This makes us interested in Potter, what he'll do, and what others will do to him. </div><div><br />
</div><div>Now that we have discussed how to make interesting and likable characters, let's discuss balancing.</div><div><br />
</div><div><span style="font-size: large;"><b>Balance</b></span></div><div><br />
</div><div>If you have multiple characters in your book, you want them to be different. This means dividing up the likable and interesting qualities. Since you want your protagonists to be likable, you want to give each one at least one of the four likable qualities. If you have four characters, you might want to stick with one quality per character, or give them unique mixes of multiple qualities. </div><div><br />
</div><div>For example, one character can always do the right thing and always help others. Another character can always help others and be funny. </div><div><br />
</div><div>Once you have given your characters likable qualities, you still have the interesting qualities left. You can add one or two of these to each character, and add some to your villains. For example, you can have a funny character who is also smart, like Tyrion the dwarf.</div><div><br />
</div><div>When making characters likable and interesting, it is important to remember the issue of a Mary Sue. </div><div><br />
</div><div>A Mary Sue is created when a character has many strengths, and these strengths can be used by the character to overcome his or her problems. So you must be careful that the qualities you give to your characters do not help them achieve their goals. For example, do not make a character funny when his main conflict is winning a funny competition. Instead make him very selfless. A good likable quality but one that prevents him from being a Mary Sue in this case.</div><div><br />
</div><div>Be particularly wary of the interesting qualities, intelligence, power, beauty, because these can often turn your characters into Mary Sues.</div><div><br />
</div><div>Remember that your character can be awesome at as many things as you want and not be a Marry Sue, as long as they can't use their talents to overcome their problems. For example, it's okay to have a character who is a world champion boxer, professional violin player, and sexy as hell, if her main problem is winning a chess game. </div><div><br />
</div><div>Do you see how that works? Her qualities make her interesting and actually handle a lot of wish fulfillment, however since they do not help her she is not a Mary Sue--just an interesting character.</div><div><br />
</div><div>The best thing to try and do is to give each of your protagonists one likable quality, one interesting quality, and one wish fulfillment. Then you want to give them many empathy drawing situations and selfless motivations.</div><div><br />
</div><div>You would want to pick different things in each of the categories for each character. This will guarantee that they will be different yet all likable and interesting.</div><div><br />
</div><div>The best thing for your villains would be to give them no likable qualities and two or more interesting qualities to compensate. These will also make them more dangerous. You can still give your villains empathy drawing situations, but since they have no likable qualities, they will handle these situations in the wrong way. This is often a good tool for letting your readers relate a little to the villain and also see why he or she became bad. They went through bad situations and handled them in the wrong way. You can also give your villain wish fulfilling things to do. If the character is clearly a villain, this will increase the hatred towards them since they're misusing the great opportunities that they are offered. </div><div><br />
</div><div>Remember that simply giving your characters likable qualities is not enough. You have to show these qualities. You have to set up scenes that let your protagonists truly shine. </div><div><br />
</div><div>Then you'll have likable characters, and hey, maybe you'll be a likable writer as well. </div><div><br />
</div>(<i>The method of creating likable characters discussed above is known as the Dmytry Method. No. I did not make up this name. Instead, users of this method, those who found it useful, decided to title it after me. I hope you find this method just as useful.)</i>Dmytry Karpovhttp://www.blogger.com/profile/06437937068724245306noreply@blogger.com3tag:blogger.com,1999:blog-4156609543325657092.post-90828165205601016352010-09-25T13:04:00.000-07:002010-11-22T12:55:27.805-08:00Story Generator<div class="separator" style="clear: both; text-align: center;"><a href="http://taxdollars.ocregister.com/files/2010/03/brainstorm.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="286" src="http://taxdollars.ocregister.com/files/2010/03/brainstorm.jpg" width="400" /></a></div>So you want to write a book, but you don't know what to make it about? Simple. Follow this process and you'll have an awesome story idea by the end.<br />
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I recommend you have some paper with you or an opened word document. This will help you write down your ideas.<br />
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First pick a genre. I recommend one that you don't usually write. Why? That will be explained later. But just pick a genre--one that you don't usually write in but still like.<br />
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I picked the Heist genre. <br />
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<a name='more'></a><br />
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Okay, write your genre down. Now, underneath it write down all the words that come to your mind when you think of this genre no matter how cliche they are. I'll do this for heist.<br />
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<i>Banks. Team. Thief. Rich Boss. Betrayal. Money. Diamonds. Secret info. Tall Buildings. Crime Lords. Lasers. Sound detectors. Museums. Cops. Disguises. Drills. Careful Plans. Mansion. Theft. Stuck up rich guy. Big city.</i><br />
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Okay, have you brain stormed all of your stuff? Yes? Good. <br />
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Now, lets pick a setting for our story. Look at the words you have brain stormed and see if any of them are settings. At least a few should be. If not, do more brainstorming. Then pick your favorite one to be your setting. For my heist story I'll pick a Tall Building cause it looks cool.<br />
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Have you picked your setting? You have? Awesome.<br />
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Now lets pick our protagonist. Go back up to your brainstorm list and pick out the words that are types of people. If you don't have any do some more brainstorming. For my story I'll pick a Thief, because thieves are cool in my opinion. <br />
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Have you picked your protagonist? You have, really? Good job.<br />
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Now lets look at what we have so far.<br />
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<b>Setting:</b> Tall Building<br />
<b>Character:</b> Thief.<br />
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Now we need a problem. So, let's look up at our brainstorming list and pick out something that can be a problem. I'll pick a theft. So, my characters are trying to pull off a theft in a tall building. <br />
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Have you picked a problem? Awesome.<br />
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So our characters have a problem often caused by an antagonist. In my case, the antagonist is the person making my character do the theft. He's making him do it. But why? Brainstorm all of the reasons for your problem to occur. What does the antagonist want?<br />
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I'll do this for why someone would want a theft.<br />
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<i>Money. Secret info. To frame someone. To ruin someones reputation. For a rare possession. For revenge. </i><br />
Now pick one of the reasons you have written down. I'll pick Secret info. Because it sounds cool and makes me wonder what the info is. <br />
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Have you picked your reason? Good.<br />
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Now we have the three main things we need for a story. Mine are.<br />
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<b>Setting:</b> Tall Building<br />
<b>Character: </b>Thief<br />
<b>Problem: </b>To steal secret info.<br />
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Now that we have these basics let's focus on character.<br />
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Our character needs to be interesting, so let's give him an interesting past. Let's give him a profession that he quit. So, list all of the professions that you think are cool. Something that you would not mind being, something that you wish you were, or wished as a little kid. I'll do this too.<br />
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<i>Race car driver. Astronaut. Movie Star. Writer. Marine. Spy. Rock Star.</i><br />
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Now choose one of these professions for your character's past. I'll choose movie star. So before my character was a thief he was a movie star. Now he often acts to fool security guards and cops. Also he was very famous, so now he can't show his face in public ever because he is too recognizable. <br />
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Have you picked your profession? Awesome. <br />
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Our character needs to have a quality that makes us cheer for him. So let's list all of the qualities that we admire in people. Here are mine:<br />
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<i>Bravery. The ability to go on even when others say you'll fail. Optimism. Selflessness. The ability to inspire others. Always doing the right thing. </i><br />
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Okay, so now let's pick one of these qualities for our character. I'll pick the ability to go on even though failure is certain. That sounds cool to me.<br />
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So have you picked your quality that is worth cheering for? Yes. Good. <br />
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Okay now we have pretty cool characters. Mine is:<br />
<br />
A thief, who is an ex-movie star, who does not give up against impossible odds. <br />
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Now that we have a cool character. Let's try to make our problem cooler. Remember the problem you picked. I picked stealing secret info. Now let's say that that is what your character thinks the problem is. However in reality the problem is something else. Go back to your first brainstorm list and pick another problem. I'll pick betrayal because it is cool. Lets say my character was trying to steal the secret info for their client, but in reality his client betrays him, and the whole theft is a set up to make sure the thief gets caught or worse. So first my character thought he was just trying to steal something. Now, he needs to find his way out of a building that has been booby trapped in every way to make sure that he is caught. <br />
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So, have you picked your second problem and connected the two? Yes? Awesome.<br />
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Now, we have a good character and a good problem. Let's go back to the setting and try and make it better. This is called changing the arena.<br />
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Write down the things that come to your mind when you think of your setting. I'm thinking tall building--this is what comes to my mind.<br />
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<i>Rich Crime Boss. Rich Company Owner. Secret operations. Mafia. Offices. Super computers. Helicopters.</i><br />
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Now, let's pick one of these things. I'll pick Super Computer...cause its cool. So let's say my building has a super computer that controls all of the security systems. Now this is a cool setting. <br />
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But is it cool enough? No. That's why we're going to do a genre twist. <br />
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Go ahead and pick another genre--not the one you started with. This genre could be something you like and often write. Since I like to write fantasy, I'll pick fantasy.<br />
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Now let's write down all of the words that come to mind when we think of our new genre. Here are mine when I think of fantasy. <br />
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<i>Towers. Magic Swords. Elves. Dwarfs. Dragons. Evil Lords. Princesses. Wizards. Magic. Scrolls. Magic hats. Spirits. Mages. Curse. Prophecy.</i><br />
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You done? Awesome.<br />
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Now lets look at our original setting, character, and problem, and see if we can spice them up. Pick words from your new brainstorm and match them with the three elements. So for me:<br />
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Instead of a tall building, let's say our thief is robbing a tower. Instead of a super computer, let's say the tower has a magical spirit that runs all of the security. <br />
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Let's say that even though our character is a thief and ex-actor who never gives up, he is also a mage that specializes in magic that helps him steal things. Now he is very interesting. <br />
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Instead of simply stealing some secret info, let's say they're stealing a magic scroll with a very secret powerful spell on it. Of course the actual problem is a betrayal. Let's say the antagonist is a princess who used to love the thief, but then he broke her heart. Now the princess wants revenge so she has set up this dangerous heist. <br />
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Have you matched up your previous stuff with the new words? You have? Amazing.<br />
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See how interesting the story sounds now? I mean it is amazing and probably the most creative story you have ever heard of. <br />
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Now we have an awesome story, with an awesome protagonist, villain, setting, and problem. <br />
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However, this only gives us one plot revolving around "The Problem," which is the heist/betrayal. We need more plots. So how do we get these other plots? Well pick a few other plots you want. I'll pick two more. I'll pick a romance plot and an idea plot. <br />
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Have you picked the ones you want? Yes? Good. <br />
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Now let's take one of these plots. Lets start with something that is also a genre. Like a romance plot, or a mystery plot, or a horror plot, or a thriller...<br />
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So, I'll start with my romance. Brainstorm all of the words that come to your mind while thinking of this genre.<br />
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<i>Marriage. Heartbreak. Kisses. Heart shaped necklaces. Memories. Dates. Cheating. Differences. Anxiety. Love triangle. Parent Issues.</i><br />
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Okay, I've had enough. Now, if you feel like having another setting in your book and another main character, pick both from your new list. I don't want to though, so I'll just pick a new problem. I'll pick cheating.<br />
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Now, have you picked all of the elements you want? Yes? Good.<br />
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Now, let's do all of the things we did before. Make your new character interesting: give them a past and a good or bad quality. Then make your setting interesting. Think of any words that come to mind when you consider it, and then link them. Then to make your problem more interesting, pick another one. I'll pick parent issues. <br />
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So here is my new plot. The thief cheated on the princess, then he regrets it and wants to fix the relationship. Of course he didn't really cheat. The princesses father didn't like the thief, so he made him pretend to cheat on the princess so that she would leave the thief and blame him and not her father. So, now I have a new awesome plot. The princess has set up this whole evil trap for the thief only to find out that he didn't really cheat on her. <br />
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So, have you created your new plot? Yes. Awesome.<br />
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Now, if you haven't done it yet, throw your new plot through the genre twist. Twisting your new plot in the genre that you twisted your first plot into. So for me: fantasy. So, let's say the princesses father is also an evil wizard. And let's say he actually <i>does</i> like the prince. He had just seen a prophecy that would lead to his daughters death if she stayed with the thief. So, he makes them break up in order to avoid this future but makes it look like he just does not like the thief. <br />
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Okay...this makes things interesting...gives me more plot twists. How about you? You too. Awesome.<br />
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Now do this exercise for any other plot you want to add that matches a genre. <br />
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You've done so? Awesome. Now let's do idea plots, which in my opinion are a little harder. <br />
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Pick one of the plots you did earlier and think of what idea would help your character succeed in fixing the problem of that plot.<br />
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I've chosen my romance plot. Now what idea would let my character succeed in getting the princess that is prophesied to die if she is with him? Simple: the idea that people can make their own destiny. Awesome. Now I have an idea plot. And it already relates. <br />
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If yours does not relate too well, let's brain storm words that come to your mind when you think of your idea. So my idea is destiny.<br />
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<i>Prophecy. The Chosen one. Death. Invincibility. God.</i><br />
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So awesome, now we can once again pick a new setting and new character if we want to. I'll pick the chosen one as a new character--a character who's entire life has gone according to prophecy. This is why our thief believes in prophecy, because he knows the chosen one. They work together.<br />
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Have you found something that relates? Yes. Good. <br />
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Let's make the new character interesting. I'll make his old job a writer. But then prophecy made him become a warrior even though he did not want to be one. <br />
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His positive trait will be optimism. YAY.<br />
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So now let's try to genre twist this plot and character too. <br />
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Let's give the chosen one a curse...hm...lets make him allergic to magic. So he can't use magic due to his condition...but he has the ability to easily detect it since it gives him a reaction. That's why he is an awesome partner to the thief.<br />
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Also, let's twist the prophecy. Let's say that all prophecies are made by super powerful wizards. More powerful then the girls father. So here's another twist. Let's say some of them are corrupt and simply make prophecies that help them. Everyone believes these false prophecies, so they end up coming true. Awesome.<br />
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Alright, so now we have multiple plots and things that make our story awesome. Lets see what we have. I have.<br />
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<b>Destiny Plot: </b>Prophecy could be avoided, but it is dangerous to. Prophecy about the princesses death.<br />
<b>Romance Plot: </b>Cheating/Parent Issues<br />
<b>Heist/Betrayal Plot: </b>Princess asks thief to steal scroll, but really it is a trap.<br />
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<b>Characters:</b> Thief, Princess, Wizard Father, Chosen one.<br />
<b>Setting: </b>A tower with spirit powered security.<br />
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So we have an entire story in the works. A story that rocks. <br />
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Now that we have all of our plots we can create the seven points for each of them.<br />
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<u><b>Heist Plot</b></u><br />
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<b>Hook:</b> No heist.<br />
<b>Plot Point 1: </b>Thief hears of heist, but it is too dangerous.<br />
<b>Pinch 1:</b> If he does the heist, he can have his acting career returned to him. He can be famous, not infamous.<br />
<b>Midpoint:</b> He takes on the heist.<br />
<b>Pinch 2:</b> He can no longer get what he wants. Even if he gets the scroll, he was betrayed and his life will still suck.<br />
<b>Plot point 2: </b>He realizes that he can use the magic scroll to fix his life himself. He continues to steal it.<br />
<b>Resolution: </b>He steals the scroll and escapes alive.<br />
<u><b><br />
Romance Plot</b></u><br />
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<b>Hook:</b> Thief is single<br />
<b>Plot Point 1:</b> He has the chance to take princess back but says no. He fears the prophecy.<br />
<b>Pinch 1: </b>The princess has set a trap for him in the tower. The only chance of escape is to agree to love her again.<br />
<b>Midpoint:</b> The thief realizes that maybe him and the princess could be together.<br />
<b>Pinch 2:</b> The thief gets together with the girl...but then she is about to die...the prophecy is coming true.<br />
<b>Plot point 2: </b>The thief realizes he could still save the princess from death.<br />
<b>Resolution: </b>The thief saves the princess and ends up with her.<br />
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<u><b>Idea Plot</b></u><br />
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<b>Hook:</b> The thief believes in prophecy.<br />
<b>Plot Point 1: </b>The thief learns that prophecy can be avoided. Begins to doubt it but still fears going against it.<br />
<b>Pinch 1: </b>There is another prophecy that the thief will fail to get his life back. That he will die. He needs to go against it.<br />
<b>Midpoint:</b> The thief decides to go against prophecy in all cases.<br />
<b>Pinch 2:</b> The thief's mission looks like a failure, and the princess is about to die like according to prophecy. <br />
<b>Plot point 2: </b>The thief realizes that he could still prevent at least one of the prophecies from coming true.<br />
<b>Resolution: </b>He saves the princess and excepts that people can make their own destiny. <br />
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Alright, those are my seven points. You can do yours later if you don't have the time.<br />
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Next, you want to line them up and see which points you want to go in which chapters.<br />
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Then we can organize the plots into chapters and make them connect where we want to.<br />
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Okay awesome. Now we can create try and fail cycles for each of the chapters. That could be done later...and only if your interested in the story. I've outlined all of the plots because I am interested in mine and might write it one day. I think it has potential as I am sure the story you have created has as well.<br />
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So, that concludes this awesome outlining technique. I really hope you guys participated in the exercise, because I can guarantee you that you will have an awesome story by the end. <br />
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Please share with me the stories you guys came up with in the comments. I'm really interested to hear about what your creativity spawned.<br />
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More writing tips will come soon. For now, enjoy brainstorming!Dmytry Karpovhttp://www.blogger.com/profile/06437937068724245306noreply@blogger.com1tag:blogger.com,1999:blog-4156609543325657092.post-10085747613767253042010-09-24T15:00:00.000-07:002010-11-22T12:56:59.262-08:00Try and Fail Cycles<div class="separator" style="clear: both; text-align: center;"><a href="http://thedailyaphorism.com/aphorisms/tsol_aphorisms_posters23.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="http://thedailyaphorism.com/aphorisms/tsol_aphorisms_posters23.jpg" width="307" /></a></div>A Try and Fail Cycle is, basically, a rule that says your protagonist must fail at least twice at doing something before they can succeed. Sometimes these failures are hidden as successes.<br />
<br />
For example, (Warning: Matrix spoilers follow. If you haven't seen this movie yet, go and do that now. It's awesome.) in the end of the Matrix you have Neo beating up a bunch of bad guys. Even though he beats them up, never is his problem solved right after. He still does not rescue Morpheus. He goes through at least two of these fights, and then he has a third fight after which Morpheus is saved. This is an example of a Try and Fail cycle hidden by success. <br />
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So, your story should take the shape of these cycles. Here is how.<br />
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Problem: Your character encounters a problem, like Morpheus is kidnapped.<br />
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Planning: Your character has an emotional reaction to this problem and then makes a plan to fix it.<br />
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Then one of two things happen. Either the problem is:<br />
<br />
Fixed, but now there is a new problem that is even worse.<br />
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or:<br />
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The problem is not fixed, and now it's even harder. <br />
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Then once again you have a planning section. This section is then followed by again either a failure, or a success and a new even worse problem. As you can see this gives you a never ending cycle.<br />
<br />
Problem.<br />
Plan.<br />
New Problem, or increased difficulty.<br />
Plan.<br />
New Problem, or increased difficulty.<br />
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This cycle allows you to build all of the events in you novel with the first problem being your inciting incident. Then you can have as many try and fail cycles as you want.<br />
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In rescuing Morpheus the events have the increased difficulty problem, because each fight Neo goes through to get to Morpheus is harder.<br />
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When instead of having a new problem or increased difficulty you have a final resolution, then your plot is over. <br />
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So, now you know how to organize the events of your book. If you know about scenes and sequels, you'll even have a better understanding.<br />
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Scenes have an action taking place and a character trying to solve a problem. Sequels have a character reacting to a problem and planning to fix it.<br />
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So here is your story structure.<br />
<br />
Scene<br />
Sequel<br />
Scene<br />
Sequel<br />
etc....<br />
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Each scene is a problem. And the sequel is the new plan. Now, remember that scenes and sequels could be in the same chapter, however they should keep taking turns--going in a cycle. <br />
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Once you have your many problems you're almost set to write. However you should spice up the problems with dilemmas.<br />
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Dilemmas often take the forms of either Conflict with Self, Conflict with Good Guys, or Conflict with Setting.<br />
<br />
For example, maybe your character has a plan, but the cops won't let him do it. That's a dilemma. Or you character needs to kill someone, but it's against his morals--another dilemma. Or your character needs to get to New York in a day, but he's in a desert with no transportation.<br />
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See, each dilemma complicates the problem. <br />
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So, once you have each of your plots identified, come up with a series of scenes and squeals for each one that lead to the resolution of each plot. Of course, certain scenes can lead to the resolution of multiple plot lines. That is why I recommend that you organize and group your plots together first.<br />
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The post on plots can be found <a href="http://writingwars1.blogspot.com/2010/08/plots.html">here</a>.<br />
The post on problems can be found, well, also <a href="http://writingwars1.blogspot.com/2010/09/problem.html">here</a>.<br />
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Next up, tips on how to organize all of your plots into something that actually looks like an outline.Dmytry Karpovhttp://www.blogger.com/profile/06437937068724245306noreply@blogger.com3tag:blogger.com,1999:blog-4156609543325657092.post-38734272778248233752010-09-23T10:33:00.000-07:002010-09-25T13:28:40.559-07:00Flowers For Algernon<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFW_V79r0FEMUJHCj_T1jqilwjHKHwbWY7af9S8wK2z_Rabbwk0GQqErBXf5sd90rpOM-6Rh9LYJ9jlD6C_s_lywQrMzE1B3jlJfKHbRxcU1rBoI9fat3Ro2EFWAa9hjibthZx7USOqyY/s1600/algernon.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5520164522805033234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFW_V79r0FEMUJHCj_T1jqilwjHKHwbWY7af9S8wK2z_Rabbwk0GQqErBXf5sd90rpOM-6Rh9LYJ9jlD6C_s_lywQrMzE1B3jlJfKHbRxcU1rBoI9fat3Ro2EFWAa9hjibthZx7USOqyY/s400/algernon.jpg" style="cursor: pointer; float: left; height: 400px; margin: 0pt 10px 10px 0pt; width: 265px;" /></a> A science fiction epistolary written in 1st person is not something I would normally read, being the fantasy-lover that I am. Of course, exceptions exist for all, and Flowers For Algernon is an oddball for me.<br />
<br />
Indeed, when I first heard of the novel, I did not think I was going to read it. But then I stumbled across an excerpt, a very brief one too, and my fate was sealed.<br />
<br />
Without spoiling anything that the back of the novel won’t spoil anyway – the main character is intellectually deprived. And the whole novel is his own diary (a.k.a. epistolary), and the author did his best to make it realistic. The diary is as you would expect a dumb person’s diary to be – full of nonsense, grammar and spelling mistakes, and just things that make you laugh (at the person, of course).<br />
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That’s why I had to read that book! It was a challenge. It was something new. It was a world different yet the same, recognizable and not, predictable though unexpected.<br />
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At first that was enough to get me through the pages. After all, it’s not all the time that you need to think on every sentence just to get what it means. But of course, it got annoying. And most conveniently it stopped.<br />
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Once the main character, Charlie, becomes intelligent enough to spell (again, nothing the back of the book won’t tell you), we start seeing 20th century New York in a totally different light. Daniel Keyes experiments with a variety of styles and new ideas to show Charlie’s POV, and that’s where 1st person works awesomely for him! (not sure if that was a word)<br />
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Needless to say, the characters in this book are simply stunning. Not necessarily the best characters I’ve seen, but they work well with the setting and the plot, which works out for an awesome reading.<br />
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There are many novels, films, and TV shows that try and take on a perspective of a handicapped, or otherwise unusual person and show us how they view the world. Examples are: <i>The Curious Incident Of The Dog In The Night Time</i>, <i>Dexter</i>, <i>I Am Sam</i>. <br />
<br />
Flowers For Algernon takes all that’s been done in those pieces and takes it to another level. It uses science fiction concepts to show us a journey that is impossible in our time and really manages to collect all possible POVs into one person, yet leaves out the key parts of each. And the result… well you’ll have to read the book for that. Let me just say that Flowers For Algernon is like nothing I’ve ever read before. And I’ve read quite a bit. This is not another science fiction story. This is a <i>classic</i> that will appeal to audiences of all genre preferences. The novel has won awards to prove it and sale charts to back it.<br />
<br />
My only advice to you is read it. For it will be one of those books you read all night cuz you just can’t stop. One warning will go out though – those who cry easily: watch out. This book is not the happiest fairy tale.<br />
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Have fun writing,<br />
<br />
Will RockWill Rockhttp://www.blogger.com/profile/14557136676021782391noreply@blogger.com1tag:blogger.com,1999:blog-4156609543325657092.post-40871110149321422982010-09-21T19:56:00.000-07:002010-11-22T12:59:27.483-08:00The Problem<div class="separator" style="clear: both; text-align: center;"><a href="http://www.funnytimes.com/archives/files/art/20040526.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="365" src="http://www.funnytimes.com/archives/files/art/20040526.jpg" width="400" /></a></div>Hey guys,<br />
<br />
Here are more tips on writing. These focus on "The Problem."<br />
<br />
"The Problem" is the major overarching problem that your characters are trying to solve. Basically, once they have solved this problem, the book is over, or once they have failed at solving it, the book is over. And I mean like they completely failed. <br />
<br />
Now, a story should have one of these major problems. As discussed <a href="http://writingwars1.blogspot.com/2010/08/plots.html">before</a> each plot has its own problem, however you really want to identify what "The Problem" is going to be. Which means what is the one problem that is resolved in the end, and thus feels like the most important problem? Because if this problem is fixed last, this suggests that this is in fact the hardest of the problems. This hardest, resolved last problem is "The Problem."<br />
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Finding "The Problem" in your story is important because it allows you to develop this problem more than other ones, and it lets you know which of your problems is really the driving force behind the novel. Here's a hint, "The Problem" is usually shared by all of the protagonists, or at least affects them heavily. <br />
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Now let's look at some examples. Warning: spoilers for Star Wars follow.<br />
<br />
Like in A New Hope, "The Problem" is defeating the empire. Because Luke, Leia, and even Han care about solving it. The only one who cares about learning the force is Luke, (and Obi-won but he dies.) This is why the end of the movie focuses on defeating the empire. They have this huge ceremony and everyone gets medals. The learning the force problem is not brought up in the end because it's not "The Problem."<br />
<br />
However, when you look at Return of the Jedi defeating the empire is no longer as important. One of the major problems becomes Darth Vader's redemption. I would in fact argue that Darth Vader's redemption is "The Problem" because as we learn early on in the movie, Luke's entire plan is to make Darth Vader good. He sends his friends Han and Leia to try and destroy the Death Star, but he himself focuses on turning Darth Vader back to the light. And if that does not work, then Luke is doomed to fail. <br />
<br />
This is "The Problem" because of a few reasons. First it is set up and foreshadowed...technically from The Phantom Menace...but if you were not watching chronologically, then Empire Strikes Back. Also, fixing this problem pretty much fixes defeating the empire. Once Darth Vader is good, he kills the Emperor fairly easily. This means that turning Darth Vader good is the hardest problem or "The Problem." That's also why Darth Vader is seen in person for all three movies while the Emperor only appears in person during episode six. Emperor is not the main problem. <br />
<br />
So, since Darth Vader's redemption is "The Problem" the movie concludes brilliantly with its resolution. But first we have the evil empire resolution, and everyone begins to party. Then Luke looks to his side and sees Yoda and Obi-Wan as Force Ghosts. Then he sees Anakin (aka Darth Vader) join them. This ending is brilliant because it truly resolves "The Problem," and resolves it last. <br />
<br />
So, once you have identified your main problem, you can know the beginning and end of your novel. Now you need to come up with smaller problems that will lead from this beginning to the end. This is where try and fail cycles come in.<br />
<br />
More on them later. For now, try to identify "The Problem" in your own writing and the ways in which it molds your story.Dmytry Karpovhttp://www.blogger.com/profile/06437937068724245306noreply@blogger.com1tag:blogger.com,1999:blog-4156609543325657092.post-4149394292851400852010-09-15T12:29:00.000-07:002010-09-15T12:46:59.422-07:00Arthas: Rise Of The Lich King<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjABroDjRwSbLRW6t_XbptZy04ys9fmXeb9IUtcXOzf_9l-Kry50EotkNP41kLGRKrxt6Y4H8jdz9qErx-KQIUF9JsMi92886SobHkkoo3zNoPpMw6o0SIp0qoDHpfOSL2jDZpLOf3Bqwo/s1600/wow-arthas-cover.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5517225929280502706" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjABroDjRwSbLRW6t_XbptZy04ys9fmXeb9IUtcXOzf_9l-Kry50EotkNP41kLGRKrxt6Y4H8jdz9qErx-KQIUF9JsMi92886SobHkkoo3zNoPpMw6o0SIp0qoDHpfOSL2jDZpLOf3Bqwo/s400/wow-arthas-cover.jpg" style="cursor: pointer; float: left; height: 400px; margin: 0pt 10px 10px 0pt; width: 265px;" /></a> Expanded universes are... interesting things. While they cut some room for creativeness and originality, they give you a nice head-start by covering setting, characters, and sometimes plots.<br />
<br />
Indeed, some expanded universe novels are nothing more than the video game storylines put on paper.<br />
<br />
Fortunately and unfortunately, that is the exact situation with Arthas: Rise Of The Lich King.<br />
<br />
Let me get one thing straight – I <b>loved</b> the book. Not once, not even in parts where I will express concerns, did I put the book down. And you shall all see why.<br />
<br />
The book is divided into 3 parts. The 1st part (and the shortest one) takes place before the game (WarCraft 3) and is taken from WarCraft lore. The second and third parts are re-tells of the main campaign from Arthas’s point of view (for the most part), complete with actual quotes from the game, and completely deprived of anything new. Is that good or bad? Well, I can’t answer that. This really varies from person to person, and you choose for yourself what you like.<br />
<br />
Now, to analyze the writing itself.<br />
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The prose – a.k.a. the writing style was flawless--<b>for the most part</b>. I am emphasizing it so, because there are a few random parts in the book where it just gets weird!! Like, the first 60 pages of the book take place over <i>10 years</i>. No, it’s not a prologue. And some unusual changes in POV, timing, more and less descriptions, all that pops up at times and makes you go “huh?” This is called <b>inconsistent writing</b>: something I hate and will punish severely!<br />
<br />
Fortunately, there wasn’t nearly enough to make me put down the book and only served minutes of frustration next to hours of enjoyment.<br />
<br />
I really don’t know how to analyze characters in this book.<br />
<br />
They are deep, developed, likeable, interesting, and easy to relate to.<br />
<br />
Of course, <b>none of that is shown in the book</b>.<br />
<br />
How did I know it then? Because being the hardcore WarCraft fan that I am, I know all those characters inside out. I know their backstories, motivations, secrets, and I know exactly what’s going to happen. My guess is this book is aimed and WarCraft fans, it expects you to know how the characters look, act, etc. Arthas himself is the sole exception, but there are <b>many</b> secondary supporting characters that are of paramount importance, and a lot of times they just do things. For reasons we are supposed to know.<br />
<br />
If I had no idea what WarCraft was, I would have no idea as to what’s going on in the book. It may or may not have made me put it down, but either way, I would not have enjoyed it to the max. Which means that it’s not worth reading. But here some may disagree.<br />
<br />
So just to summarize what I’ve said in my brief recommendation. For all those WarCraft lore lovers out there: must read. For those who generally like expanded universes, even if they don’t know them: must read. For those that like good prose and plot and don’t mind a little (or a lot) of confusion here and there: must read. For anyone else: stay away from Arthas as if it was an armed, touch-triggered nuclear bomb.<br />
<br />
Write you later,<br />
<br />
Will RockWill Rockhttp://www.blogger.com/profile/14557136676021782391noreply@blogger.com1tag:blogger.com,1999:blog-4156609543325657092.post-26884890839002585602010-09-08T18:28:00.000-07:002010-09-15T12:35:16.524-07:00Scott Pilgrim vs. The World<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrkGGQSsGlFh0NpmLf-uHniiDKkUT6TJSjtTxbw-ZevMItfqFssY-pWyKSi7WU4KafYu7hyphenhyphenUkMUfBZgnSKCA-AjZZSsuRjAmGeOegV-F3KFVLzElvmi-tcrDGRjK8NnAT7Ik03lDIVQv0/s1600/Scott-Pilgrim-vs-The-World-Movie-Poster.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5514721317038360258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrkGGQSsGlFh0NpmLf-uHniiDKkUT6TJSjtTxbw-ZevMItfqFssY-pWyKSi7WU4KafYu7hyphenhyphenUkMUfBZgnSKCA-AjZZSsuRjAmGeOegV-F3KFVLzElvmi-tcrDGRjK8NnAT7Ik03lDIVQv0/s400/Scott-Pilgrim-vs-The-World-Movie-Poster.jpg" style="cursor: pointer; float: left; height: 400px; margin: 0pt 10px 10px 0pt; width: 270px;" /></a><br />So I was watching Scott Pilgrim vs. The World, and I was like “Yeah, k, whatever. Just another romantic comedy. Sleeeeepy…”<br /><br />And then there was a “BAM!”<br /><br />Say what? He’s fighting some crazy boyfriend, and the screens shows us “<i>40 hit combo</i>”!?!<br /><br />That’s where the movie turns into a video game. And that’s where the movie becomes awesome.<br /><br />Indeed, Scott Pilgrim may very well be the first of its genre. While there are movies based on games and game universes (such as Street Fighter, or Mortal Kombat), this movie actually is a video game. Unfortunately, it’s a PG-13 rated one.<br /><a name='more'></a><br />During the 2 hours of awesome violence there was not a single drop of blood spilled and, when the “killing blow” is delivered, the fallen enemy turns to coins (the “reward” for passing that level). The seriousness just adds to the hilariousness – everyone seems shocked when the first fight breaks out. Clearly no one is used to Mortal Kombat style fighting in their lives. But they all cheer for Scott nonetheless, and when he wins he gleefully exclaims “Cool, coins!” which is later followed by “Man! This won’t even be enough for the bus!” The fact that his life was at stake in a battle that involved jumping to the ceiling and dudes shooting fire at him—as if that’s just a common everyday thing—isn’t even worth mentioning.<br /><br />The blend of a real life complete with a rock band, a gay roommate, and a troubled double-relationship merges with the video game style to form something completely insane. His band gets fully involved when he has to do a music battle with 2 evil twins complete with dragons coming out of their keyboards and giant’s coming out of Scott’s guitar—all live in front of an audience. And their victory helps promote their band… yeah whatever. One thing this movie is <i>not</i> supposed to do is make sense.<br /><br />What do you know about vegetarians? Or “vegans” as they call them. Bet you didn’t know that it gives them superpowers complete with telepathy, flight, super strength – you name it. I don’t know what I would do if I met someone like that, but Scott thinks fast and does something totally unexpected and unrealistic. Apparently, unrealistic and unexpected equals obvious in his world :P<br /><br />Now, all of that can be lived with, but at the end the most insane, crazy, unexpected, and unrealistic thing happens. What? Well, let’s just say that if you’re familiar with video games you’ll notice it, and if you’re not familiar with them, you’ll notice it anyway. It just makes you laugh so hard you know this movie can’t get any more insane.<br /><br />So now, as for my recommendation, although I don’t usually like things to be totally random, and I appreciate just a little sense in it all, but all I gotta say is: Watch! I promise you will love every second of it, and you’ll have some of the best laughs in a while. Scott Pilgrim vs. The World is one of the most original films of 2010 and can be classified as its own genre.<br /><br />Write you later,<br /><br />Will RockWill Rockhttp://www.blogger.com/profile/14557136676021782391noreply@blogger.com2tag:blogger.com,1999:blog-4156609543325657092.post-56468524980926285042010-09-06T18:14:00.000-07:002011-01-05T09:31:03.078-08:00Grammatical Pests: Guide One<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiWAGvFLEWwaJmxSQ3hyF7JtZHat_j744dRc-9oI-IA0pdHLoJm5nIlOPXp92niirxy0M1-OrEnnAjc4wafTqy56JbVodah2I5RuQ5OaPAjAgMxNfQ3EK0sXE-dZR6Dr1-HgWqUnMPfqk/s1600/mark-twain.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5513983321856549298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiWAGvFLEWwaJmxSQ3hyF7JtZHat_j744dRc-9oI-IA0pdHLoJm5nIlOPXp92niirxy0M1-OrEnnAjc4wafTqy56JbVodah2I5RuQ5OaPAjAgMxNfQ3EK0sXE-dZR6Dr1-HgWqUnMPfqk/s320/mark-twain.jpg" style="cursor: pointer; float: left; height: 320px; margin: 0pt 10px 10px 0pt; width: 264px;" /></a><br /><div class="MsoNormal"><div class="MsoNormal">Part of the fluidity of a narrative comes from the accuracy with which it is written. While elements of content like character development, thematic depth and a measured pace are undoubtedly paramount, the quality of a reading material is also dictated by the care put into the language itself. Grammar will usually not make or break a story, but mistakes in that department can certainly distract the reader from the big picture and detract from personal style. Not to mention, editors and publishers will frequently regard the work as unprofessional if it is littered with usage problems and unsightly punctuation misuses.</div><div class="MsoNormal"><br /></div><div class="MsoNormal">That being said, even the greatest of writers break rules of grammar and do so more frequently that one would think. But they also have the right to do as much; as Mark Twain quipped, “Get your facts first, and then you can distort them as much as you please.” It is therefore important to learn the rules and to make sure that grammatical errors become necessary exceptions as opposed to nipping pests. This guide, the first in a series, may consequently serve as a grammatical pesticide to help you do away with these errors.</div><div class="MsoNormal"><br /></div><div class="MsoNormal">First, some terminology:</div><div class="MsoNormal"><br /></div><a name='more'></a><br /><div class="MsoNormal"><b>Noun: </b>A person, a place, a thing or an idea.</div><div class="MsoNormal"><br /></div><div class="MsoNormal" style="margin-left: 36pt;"><b>Pronouns: </b>Words that replace nouns for the sake of making sentences clearer and less repetitive.</div><div class="MsoNormal" style="margin-left: 36pt;"><br /></div><div class="MsoNormal" style="margin-left: 36pt;"><b>Action: </b>What happens in a sentence; represented by a verb.</div><div class="MsoNormal" style="margin-left: 36pt;"><br /></div><div class="MsoNormal" style="margin-left: 36pt;"><b>Subject: </b>The noun that commits the action (a sentence cannot survive without it).</div><div class="MsoNormal" style="margin-left: 36pt;"><br /></div><div class="MsoNormal" style="margin-left: 36pt;"><b>Object: </b>The noun that receives the action.</div><div class="MsoNormal" style="margin-left: 36pt;"><br /></div><div class="MsoNormal" style="margin-left: 36pt;"><b>Prepositions:</b> Words (usually short) that give the relationship between two nouns, generally in space or time, e.g. to, of, for, in, out, above, over, through and until.</div><div class="MsoNormal" style="margin-left: 36pt;"><br /></div><div class="MsoNormal" style="margin-left: 36pt;"></div><div class="MsoNormal">In the sentence</div><div class="MsoNormal"><br /></div><div align="center" class="MsoNormal" style="text-align: center;"><i>“The irreverent student interrupted the wordy linguist with a comment of her own.”</i></div><div align="center" class="MsoNormal" style="text-align: center;"><br /></div><div align="center" class="MsoNormal" style="text-align: center;"><i><o:p></o:p></i></div><div class="MsoNormal" style="text-align: left;">the <i>student</i> is the subject; the <i>linguist</i> is the object; <i>with</i> is a preposition; <i>her</i> is a pronoun (it replaces “the student’s”); <i>to interrupt</i> is the action.</div><div class="MsoNormal"><b><span style="font-size: 12pt; line-height: 115%;"><o:p> </o:p></span></b></div><div class="MsoNormal"><b><span style="font-size: 12pt; line-height: 115%;"><o:p> </o:p></span></b></div><div class="MsoNormal"><b><span style="font-size: 12pt; line-height: 115%;"><br /></span></b></div><div class="MsoNormal"><b><span style="font-size: 12pt; line-height: 115%;">Pest One. Who <i>vs</i>. Whom</span></b></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b><span style="font-size: 12pt; line-height: 115%;"><o:p></o:p></span></b></div><div class="MsoNormal">In modern English, especially the conversational language, <i>whom </i>has become rarely employed. This is a fairly significant omission; avoiding the word <i>whom </i>is like removing <i>him, her, us </i>and <i>them</i> from one’s vocabulary. After all, like those words, <i>whom </i>is an <b>objective pronoun</b>, whereas <i>who </i>is a <b>subjective pronoun</b>. This means that <i>who</i> should be doing the action in a sentence while <i>whom </i>should be receiving it. Consider the following examples:</div><div class="MsoNormal"><br /></div><div class="MsoListParagraphCxSpFirst" style="margin-left: 54pt; text-indent: -18pt;"><b>1)<span style="font-size: 7pt;"> </span></b><b><i>Who</i> stands at the door?<o:p></o:p></b></div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 54pt;"><o:p> </o:p></div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72pt;">The action in this sentence is the verb <i>to stand. Who </i>is standing (the subject - doing the action) while the door is being stood at (the object - receiving the action).</div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72pt;"><br /></div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72pt;"><o:p> </o:p></div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 54pt; text-indent: -18pt;"><b>2)<span style="font-size: 7pt;"> </span></b><b>To <i>whom </i>do I owe my thanks?<o:p></o:p></b></div><div class="MsoListParagraphCxSpMiddle" style="margin-left: 72pt;"><o:p> </o:p></div><div class="MsoListParagraphCxSpLast" style="margin-left: 72pt;">The action in this sentence is <i>to owe</i>. <i>I</i> is owing thanks (the subject) while <i>whom </i>is being owed (the object).</div><div class="MsoListParagraphCxSpLast" style="margin-left: 72pt;"><br /></div><div class="MsoNormal"><b>When Deciding:</b></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b><o:p></o:p></b></div><div class="MsoNormal"><i>- Who </i>often stands right in front of the main verb of a sentence.</div><div class="MsoNormal"><br /></div><div class="MsoNormal"></div><div class="MsoNormal"><i>- Whom </i>often follows a preposition: <b>to </b>whom, <b>for</b> whom, <b>with</b> whom, etc.</div><div class="MsoNormal"><br /></div><div class="MsoNormal"></div><div class="MsoNormal"><b>The He/They and Him/Them Test:</b></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b><o:p></o:p></b></div><div class="MsoNormal">If in doubt when trying to choose between<i> who </i>or <i>whom,</i> insert <i>he/they or him/them </i>in the contested place. If <i>he or they</i> makes sense, use the pronoun <i>who; </i>if <i>him or them </i>makes more sense, use <i>whom. </i>Some rearranging may have to be done. For instance:</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b><span class="Apple-tab-span" style="white-space: pre;"><span class="Apple-tab-span" style="white-space: pre;"> </span> </span>1) There are those (who/whom) say that laughter is the best medicine.</b></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b><o:p></o:p></b></div><div class="MsoNormal"><b><i><span class="Apple-tab-span" style="white-space: pre;"> </span>They</i> say that laughter is the best medicine. </b>Sounds good – use <i>who.</i></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><i><o:p></o:p></i></div><div class="MsoNormal"><i><b><span class="Apple-tab-span" style="white-space: pre;"><span class="Apple-tab-span" style="white-space: pre;"> </span> </span>Them </b></i><b>say that laughter is the best medicine. </b>Sounds awkward – don’t use <i>whom.</i></div><div class="MsoNormal"><i> </i> </div><div class="MsoNormal"><b><span class="Apple-tab-span" style="white-space: pre;"><span class="Apple-tab-span" style="white-space: pre;"> </span> </span>2) The man (who/whom) Kate admires is a total hack.</b></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b><o:p></o:p></b></div><div class="MsoNormal"><b><span class="Apple-tab-span" style="white-space: pre;"> <span class="Apple-tab-span" style="white-space: pre;"> </span></span>Kate admires<i> he. </i></b>No go – don’t use <i>who.</i></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><i><b><o:p></o:p></b></i></div><div class="MsoNormal"><b><span class="Apple-tab-span" style="white-space: pre;"><span class="Apple-tab-span" style="white-space: pre;"> </span> </span>Kate admires<i> him. </i></b>Perfect – use <i>whom.</i><b> <o:p></o:p></b></div><div class="MsoNormal"><b><span style="font-size: 12pt; line-height: 115%;"><br /></span></b></div><div class="MsoNormal"><b><span style="font-size: 12pt; line-height: 115%;">Pest Two. Ending Sentences with Prepositions</span></b></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b><span style="font-size: 12pt; line-height: 115%;"><o:p></o:p></span></b></div><div class="MsoNormal"><b><span style="font-size: 11pt;"> </span></b><span style="font-size: 11pt;">For a long time (and this is still prevalent in some circles), using a prepositional phrase at the end of a sentence was taboo. While this is true for Latin grammar, it should not be the case for English. </span>Certainly, it may be unadvisable in some instances to end sentences with prepositions, but the rule is by no means absolute. In fact, sometimes the clarity of meaning is greatly improved by leaving the preposition where it is. The writer should ultimately rely on what reads and sounds better; consider the following two examples:</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><span style="font-size: 11pt;"><o:p></o:p></span></div><div class="MsoNormal">A case where change would be beneficial -</div><div class="MsoNormal" style="text-align: left; text-indent: 36pt;"><b> </b></div><div class="MsoNormal" style="text-align: left; text-indent: 36pt;"><b>Before: </b>The fountain pen lying on the floor is the one that he wrote <i>with</i>.</div><div class="MsoNormal" style="text-align: left; text-indent: 36pt;"><br /></div><div class="MsoNormal" style="text-align: left;"><b><span class="Apple-tab-span" style="white-space: pre;"> <span class="Apple-tab-span" style="white-space: pre;"> </span></span>After: </b>The fountain pen lying on the floor is the one <i>with which</i> he wrote.</div><div class="MsoNormal" style="text-align: left;"><br /></div><div class="MsoNormal" style="text-align: left;">A case where change would be detrimental -</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b><span class="Apple-tab-span" style="white-space: pre;"> <span class="Apple-tab-span" style="white-space: pre;"> </span></span>Before: </b>What is the state of our language coming to?</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b><span class="Apple-tab-span" style="white-space: pre;"><span class="Apple-tab-span" style="white-space: pre;"> </span> </span>After: </b>To what is the state of our language coming?</div><div class="MsoNormal"><br /></div><div class="MsoNormal">While perceptions may vary from reader to reader, it’s fairly obvious that the change only made matters worse in the second example.</div><div class="MsoNormal"><b><span style="font-size: 12pt; line-height: 115%;"><br /></span></b></div><div class="MsoNormal"><b><span style="font-size: 12pt; line-height: 115%;">Pest Three. Indefinite Pronoun “You” <i>vs. “</i>One”</span></b></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b><span style="font-size: 12pt; line-height: 115%;"> </span></b>In some cases, the words <i>you</i> and <i>one</i> may act as indefinite pronouns: pronouns that refer to no one in particular. For instance:</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b><i><span class="Apple-tab-span" style="white-space: pre;"> </span>You</i> should always wear a seatbelt, even on short trips.</b></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b><o:p></o:p></b></div><div class="MsoNormal"><b><span class="Apple-tab-span" style="white-space: pre;"> </span>Marty was a proud man who would never do <i>one</i>’s dirty work.</b></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b><o:p></o:p></b></div><div class="MsoNormal">These may be freely reversed:</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b><i><span class="Apple-tab-span" style="white-space: pre;"> </span>One</i> should always wear a seatbelt, even on short trips.</b></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b><o:p></o:p></b></div><div class="MsoNormal"><b><span class="Apple-tab-span" style="white-space: pre;"> </span>Marty was a proud man who would never do <i>your </i>dirty work.</b></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><b><o:p></o:p></b></div><div class="MsoNormal">Both sentences sound decent enough, which makes one (or you) wonder which word is more acceptable. The truth is that both pronouns may be used and, like Pest Two, this is at the writer’s discretion. The writer should know the following first, however:</div><div class="MsoNormal"><br /></div><div class="MsoNormal" style="text-indent: 36pt;"><i>- You</i> is the more casual and informal of the two; it is also a trademark of Canadian and American English and does not see the same usage in other parts of the world.</div><div class="MsoNormal" style="text-indent: 36pt;"><br /></div><div class="MsoNormal" style="text-indent: 36pt;"></div><div class="MsoNormal" style="text-indent: 36pt;">- <i>One </i>is more formal, in many senses posh, and may give an impression of hauteur if overused. In some cases it may make the sentence sound clumsy, especially if <i>one </i>is used more than once. For instance:</div><div class="MsoNormal" style="text-indent: 36pt;"><br /></div><div class="MsoNormal" style="text-indent: 36pt;"><i><o:p></o:p></i></div><div class="MsoNormal">Once one relies on one’s honesty, one will have nothing left to say to anyone.</div><div class="MsoNormal"><br /></div><div class="MsoNormal"><i><o:p></o:p></i></div><div class="MsoNormal">Definitely clumsy. Or perhaps it has a ring to it? Let yourself be the jury; let the reaction of your readers be the judge.</div></div>Ilanhttp://www.blogger.com/profile/00172240277069502577noreply@blogger.com1tag:blogger.com,1999:blog-4156609543325657092.post-58467347275457460122010-09-03T22:31:00.000-07:002010-11-22T13:00:28.434-08:00Killing Characters<div class="separator" style="clear: both; text-align: center;"><a href="https://www.funnytimes.com/archives/files/art/20000202.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="398" src="https://www.funnytimes.com/archives/files/art/20000202.jpg" width="400" /></a></div>So you want to kill off some of your characters. (Wow, you're evil.) How do you do it effectively?<br />
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Hmm...<br />
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Before we get to that, let's learn a rule of writing successful stories.<br />
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You can kill a POV (aka a point of view character).<br />
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You can kill a protagonist (aka a hero of your story).<br />
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You <b>cannot</b> kill a POV protagonist (Oops).<br />
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Here's why: <br />
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A POV is the character who the reader imagines him or herself as. When this character is hurt the readers feel the pain. However, since a POV is not a protagonist, they don't care about him or her. So they don't mind if this character is hurt or dies. <br />
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Readers care about the protagonist. However, if he or she does not have a point of view, they do not feel the pain that the protagonist feels. This means it is okay for them to die, though it is still more hurtful than killing off a POV.<br />
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If you have a POV protagonist, your putting your readers in the mind of a character they care about. If this character is hurt, the readers are hurt. If he or she dies, the readers die. Or at least they might get so upset they'll never think about your book again.<br />
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Now, do you see why you cannot kill off a POV protagonist yet? You do? Good.<br />
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So, now that I have told you what you cannot do, I will tell you how you can do it and still keep your readers happy.<br />
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Warning, the following contains spoilers for: Gladiator, Braveheart, Harry Potter, Troy, Star Wars, and Robo Cop.<br />
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There are two effective ways of killing off a POV protagonist. The first one is the most effective.<br />
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<b>Following beyond the grave: </b>You follow your dead hero after he dies. This usually involves making your hero a ghost or showing him entering heaven. This lets your reader know that, even though the Hero is dead, his journey is not over and that he will have a happy life. Great examples of this are the movies Gladiator, where the main character dies and then sees his wife and child in heaven, and Braveheart, where right before he dies the hero sees his wife who is in heaven. Another great example is Harry Potter, where after Harry dies he sees Dumbeldore in heaven who explains that death isn't so bad. <br />
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<b>A sense of immortality:</b> You give your readers the sense that your hero and his actions will be remembered for all time. This is often done by having other characters taking up the hero's legacy or by showing that the hero's actions have had a great positive impact on the world. Now, all of the people will remember him for this and build monuments, write poems, and even songs in his honor--that kind of stuff. Great examples of this are Braveheart, where Bruce takes up William's fight for freedom (we also know that William is still remembered today) and Troy, where we know that Achilles will be remembered for eternity. Though, the Troy example isn't as effective. Probably because no one takes up Achilles's legacy.<br />
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Now, those are the two best ways of killing off your protagonists truly. Here are some other ways you can kill them--if you're feeling particularly evil.<br />
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<b>Resurrection: </b>You kill off the POV protagonist and then quickly resurrect him or let your readers know that he will be resurrected soon in the book. A good example is, once again, Harry Potter, when after Harry dies he is quickly resurrected and then goes on to defeat Voldemort. Another example would be many sci-fi stories like Robo Cop, where after the protagonist appears to be dieing he is saved by advanced technology. The same thing happens to Anakin after he is burned. <br />
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<b>Write a Horror: </b>It is perfectly normal to kill off POV protagonists in a Horror book. All you have to do is make sure that you have a clear protagonist who will live longer than anyone else. Its okay in Horror because people expect it.<br />
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Write a Trajedy: </b>It is okay for your POV protagonist to die in the end if your book is clearly a tragedy or deals with alot of death. Be warned, these books are still publishable but will not sell too well or be popular. People will not have happy memories after this kind of boo. They will not recommend it to others. <br />
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<b>Have many POV Protagonists: </b>If you have many Pov protagonists who your readers can cheer for, you can get away with killing one without using any of the methods above. A word of caution: the death will still detract from people liking your story and should only be done if it is necessary to the plot. If you want to pull off a death like this, you have to be a strong writer and make sure that your other characters are likable enough that your reader will still keep reading. I'd recommend having one of your other characters take up the legacy and mission of the dead one.<br />
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So, those are all of the ways you can kill off a POV protagonist and not receive hate mail. <br />
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If you have any questions, or if you have any of your own theories on killing people, please comment--I meant killing characters. Killing characters, not people. I hope that is clear. This site is for writers, not serial killers.Dmytry Karpovhttp://www.blogger.com/profile/06437937068724245306noreply@blogger.com2tag:blogger.com,1999:blog-4156609543325657092.post-7776029531338775092010-09-01T12:46:00.000-07:002010-11-22T13:00:43.455-08:00Wide Audience<div class="separator" style="clear: both; text-align: center;"><a href="http://lowbright.com/comics/goodaslily/gal_cover_colors_pink.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="367" src="http://lowbright.com/comics/goodaslily/gal_cover_colors_pink.jpg" width="400" /></a></div>So you want your book to appeal to a wide audience? How?<br />
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Let me say this first. Character likability has nothing to do with appealing to a wide audience. (Yes, you should have likable characters. That's a must in order to have any audience. But that's not how you appeal to a <i>wide</i> audience.) Why? Because the likable qualities are universal and already appeal to everyone. So what does have to do with appealing to a wide audience?<br />
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Genres:<br />
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Primarily the genres of children, young adult, adult, and feminist. <br />
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Did you notice how all of those are either an age group or a sex? Yes? Good.<br />
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That's because the way to attract a wide audience is to appeal to a wide number of age groups. If your writing fantasy, its going to be nearly impossible for you to get a horror reader to read your book. But you can get all of the young, middle, and older fantasy readers to read it. That's a huge chunk of the market.<br />
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As well, the YA genre is very broad, so even a fantasy book, like Harry Potter, can attract all of the YA readers in the world.<br />
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So how do we make our book appeal to a variety of age groups?<br />
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Simple. We have a variety of characters who are in these different age groups.<br />
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If you have a little girl as a character, a teenage guy, a twenty five year old father, and an old grandmother as characters, you will cover all of the age groups and the feminist aspect. <br />
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Remember that not all of these characters need to have a POV (point of view). They can be secondary protagonists to your story and still bring the audience. Also, the actual age of the character isn't too important. The way they act is. If you have a fifteen year old woman as your protagonist who had to grow up fast because her parents died, she could be treated as an adult as opposed to a YA. <br />
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So how we write about these different characters? <br />
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We do so by focusing on a few different things that the different genres focus on.<br />
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Children:<br />
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They focus on learning. They don't know how to do everything and are sometimes scared of trying. They like it when they have their parents or someone else help them. So a child asks himself questions like. How do I do this? What if I can't?<br />
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A child's life is one of mystery. They are both fascinated and scared by the unknown. <br />
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Teens:<br />
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They focus on finding their identity. Unlike children they think they can already do everything, yet they are often restricted by parents. This makes them conflicted. Teens ask themselves, who am I? Where do I belong?<br />
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A teens life is one of inner discovery. They seek to be unique, but also to be a part of something. They seek acceptance.<br />
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Adults:<br />
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They focus on responsibility. It is their job to make sure the teens and children don't end up ruining their lives. So an adult focuses on doing things, yet their questions relate to how they do them. They ask thing such as, Am I doing the right thing?<br />
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An adult seeks to fix the mistakes of the past: The mistakes of others, perhaps their own parents. They do not always succeed. <br />
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Seniors:<br />
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Seniors focus on their legacy. They have already gone through most of their life. Now they want to fix any regrets. Or do things they failed to do in their youth. Often a senior is trying to help out an adult character, but the adult who doesn't have to listen is often stubborn. Seniors ask things like, how can I fix this? How can I make them listen to me?<br />
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A senior seeks to fix the mistakes of his own past. He has already tried to rewrite the wrongs of others in his life and has, at times, failed.<br />
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Feminist:<br />
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Feminist focuses on a girl's/woman's perspective. They look at the world similar in the ways that teens do, and question how the role of a woman is different. They ask things like, what should I be doing? Are my goals more important than my responsibilities?<br />
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Obviously, not all woman think like this. (I'm not aiming to stereotype.) However, the feminist character specifically looks at the role of woman in order to appease a certain group of readers that none of the other genres focus on: The readers who question woman's role in society. <br />
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In conclusion, if you can write a book that appeals to all of these genres and age groups, or one that appeals to even two of them, you will be reaching out to a wider audience.Dmytry Karpovhttp://www.blogger.com/profile/06437937068724245306noreply@blogger.com0tag:blogger.com,1999:blog-4156609543325657092.post-21890691430660165072010-08-29T21:26:00.000-07:002010-08-29T21:26:45.001-07:00Warbreaker<div class="separator" style="clear: both; text-align: center;"><a href="http://davebrendon.files.wordpress.com/2009/05/warbreaker.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="http://davebrendon.files.wordpress.com/2009/05/warbreaker.jpg" width="265" /></a></div>In a land where magic is fueled by breath and colour, war is brewing. Only a diplomatic marriage can keep the peace, but the king of Idris is hesitant to give up his daughter to a court of gods. If he does, his lands will be safe and his daughter married to a divine ruler. If he doesn't, his people will be conquered. The decision seems simple, but the king has two daughters.<br />
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The story follows two princesses, Siri and Vivenna, as they're thrown into the politics of Hallandren, the land of Returned gods. While Vasher, a mysterious man, seeks his own goals, and Lightsong, a Returned, seeks to find out about his past.<br />
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<a href="http://www.amazon.com/Warbreaker-Sci-Fi-Essential-Books/dp/0765320304">Warbreaker</a>, by <a href="http://www.brandonsanderson.com/">Brandon Sanderson</a>, is more colorful (pun intended) than his previous series, <a href="http://www.amazon.com/Mistborn-Final-Empire-Book/dp/0765350386">Mistborn</a>. It's also more lighthearted, more funny, and a very different kind of book in general.<br />
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The magic system, as in all of Brandon's books, is once again unique and fascinating. It allows its users to animate objects by draining colour out of the inanimate and breaths out of the people. Confusing? A little, but Brandon manages to explain the mechanics of his world in the prologue, (meaning the very start,) making the magic system easy to understand as well as intricate and realistic.<br />
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Each person is born with one breath and can give it to others at will. Gaining breaths results in increased senses. Having no breath results in a person becoming a drab--a person who feels incomplete. This concept creates interesting morale choices that Brandon uses to the fullest, making Warbreaker a deeper book than a simple rescue story. (I might have just spoiled a little.)<br />
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He also uses the practical elements of the magic, creating vivid, unique action scenes--especially in the climax, which is one of the best in recent books due to the clever tying of plots and reveals. However, one gets the feeling that there is still alot left to learn about the magic system. (A sequel is being planned.)<br />
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The book has great characters: a funny god, a reluctant princess, and another princess more of the Xena type...though not that intense. Oh, there's also a mysterious character who appears from time to time--obviously not that often since I almost forgot about him. He is awesome though--mysterious characters with mystical powers and magic swords often are.<br />
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The plot is tight and uses a nice blend of irony and reversals to achieve interesting effects. Often, comic effects. And who minds comedy? I don't. Remember Lightsong, the funny god I mentioned? Yes, gods can be funny, and this one gives the story just the right amount of jokes. Without them it might have felt a tad slow (the main story is little short for a 200,000 page book), but with them it becomes a fun read. A real <i>page turner</i> as they used to say.<br />
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You may have noticed that I have revealed alot about the book--alot about everything...except the story. This is because Brandon utilizes so many twists and turns that if I <i>even</i> talk about the first page of Warbreaker, I'd be spoiling. Spoiling big time. What does that mean? It means that Brandon wrote an awesome book, (You know I hate spoiling awesomeness.) and that you should read it.<br />
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Yes, you.<br />
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Though, I suppose that I should tell you some of the negatives before forcing you to commit to reading an entire novel. Fine, I will.<br />
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Brandon is a great writer. His prose is tight and effective, yet poetic and dazzling it ain't. If you're looking for beautiful writing, you won't find it in Warbreaker. Though, you will find a beautiful story. Remember that.<br />
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The book is a standalone. Wait, isn't that a positive? Maybe. If you're looking for an awesome self contained novel, you'll find it in Warbreaker. If you're looking for another long epic fantasy series, you'll be disappointed. However, remember that a sequel is already being planned. Unfortunately, it's not being planned for the near future. But hey, Brandon writes at the speed that money vanishes. Meaning...very quickly. <br />
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Warbreaker is not a gritty, dark book. Once again, some may see this as a positive, some may not, but it's worth considering that there aren't much lighthearted fantasy books out there nowadays. Warbreaker is one of those. It might be worth reading just for that--or not. This book will make you feel happy at the end. Some people don't like that. (I don't know those people.)<br />
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Now that I am done going over the negatives, (I know they weren't really bad, but I had to say something) let's go back to my original point.<br />
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Read Warbreaker! <br />
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Read it, and then go to Brandon Sanderson's website and check out the awesome annotations (bonus content) he's posted for the book. You can find that at:<br />
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<a href="http://www.brandonsanderson.com/">http://www.brandonsanderson.com/</a><br />
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In fact, Brandon has tons of bonus material available and still has enough time to give back. He, along with <a href="http://www.fearfulsymmetry.net/">Dan Wells</a> and <a href="http://www.schlockmercenary.com/">Howard Taylor</a>, host a podcast each week on a site called <a href="http://www.writingexcuses.com/">Writing Excuses</a>. It's an awesome source of tips for beginning writers and you can check it out at:<br />
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<a href="http://www.writingexcuses.com/">http://www.writingexcuses.com/</a><br />
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Now, if you don't know who Brandon Sanderson is and read epic fantasy, check his books out. Seriously, check them out. This guy is the real deal and will be so for along time. And by real deal I mean...he is AWESOME.<br />
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<b>Violence:</b> Some, but it's well done and not overly visual. <br />
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<b>Profanity: </b>None here. Unless you count made up terms.<br />
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<b>Sexual Content: </b>Some things are implied, some sounds are made, though nothing is really shone. Still, this book isn't really for children. It's for a mature audience. (Perhaps I should have mentioned that earlier.)Dmytry Karpovhttp://www.blogger.com/profile/06437937068724245306noreply@blogger.com1tag:blogger.com,1999:blog-4156609543325657092.post-69543603782548990732010-08-27T16:18:00.000-07:002010-08-27T18:03:47.433-07:00David Farland's Writers' Groups<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtFj6aeVS6OxsOZFUon4GAy7LBkzhyooFIVY9IRGyHU0matpe6UEMNbVMFnaJKHfKj9Qys9fygJb7iIyENqehZ_6z1BWZ3bOrP8NvBR4GW__KxPK0vSWzBd9C8BY_UeqAUg2KrJUfwNng/s1600/Writing+Groups" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="357" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtFj6aeVS6OxsOZFUon4GAy7LBkzhyooFIVY9IRGyHU0matpe6UEMNbVMFnaJKHfKj9Qys9fygJb7iIyENqehZ_6z1BWZ3bOrP8NvBR4GW__KxPK0vSWzBd9C8BY_UeqAUg2KrJUfwNng/s400/Writing+Groups" width="400" /></a></div>Want to be in a writing group? It's a supportive community of writers who provide each other with both critiques and inspiration. Something that every writer, at any level, needs. <br />
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<a href="http://farlandswritersgroups.com/index.php">David Farland's Writers' Groups</a> is a site inspired by the great <a href="http://www.runelords.com/">David Farland</a> himself--A wizard of story telling whose magic has conjured up a great many books over the years. If you've read fantasy and don't know about his <a href="http://www.amazon.com/Sum-All-Men-Runelords-Book/dp/0812541626/ref=sip_rech_dp_9">The Runelords</a> series, then its time for you to get educated.<br />
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And while you're busy studying, think about joining a writing group online. If you're a writer, it will give you a place to learn about your craft and receive personalized feedback--all for free. (At least in the site that I'm directing you to.)<br />
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So if you're looking to join a writing group, or maybe even to start your own, think about online groups-- think real hard. Think about joining <a href="http://farlandswritersgroups.com/index.php">David Farland's Writers' Groups.</a> <br />
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And while your brain is bursting from its thought process, you might want to know that I'm part of a group on the site myself. So is Will. So is David Farland's younger brother. If you need more proof of its awesomeness, check it out at:<br />
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<a href="http://farlandswritersgroups.com/index.php">http://farlandswritersgroups.com/index.php</a><br />
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Write you later. Maybe even on the writing group forum.Dmytry Karpovhttp://www.blogger.com/profile/06437937068724245306noreply@blogger.com0tag:blogger.com,1999:blog-4156609543325657092.post-23441653844142134312010-08-23T00:03:00.000-07:002010-08-30T14:46:14.929-07:00Dinner for Shmucks<a href="http://www.filmofilia.com/wp-content/uploads/2010/04/dinner_for_schmucks_teaser_poster.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="http://www.filmofilia.com/wp-content/uploads/2010/04/dinner_for_schmucks_teaser_poster.jpg" width="270" /></a><span style="font-size: large;"><span style="font-size: small;"><i> This review was written by Ilan, a new contributor to Writing Wars<span style="font-size: large;">, </span></i></span></span><i><span style="font-size: small;">who</span></i><span style="font-size: small;"><i> w</i></span><i><span style="font-size: large;"><span style="font-size: small;">e are delighted to have join our team<span style="font-size: large;"><span style="font-size: small;">. With his help, new posts will become much more frequently available for you guys to enjoy. Because of this, we </span><span style="font-size: small;">would like to take this opportunity to thank him for his work.</span></span></span></span><span style="font-size: small;"> </span></i><i><span style="font-size: small;">You should too. Enjoy.</span></i><br />
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<b><span style="font-size: large;">Dinner for Schmucks </span></b><br />
<b><span style="font-size: x-small;">Junk Food or a Square Meal? </span></b><br />
<span style="font-size: x-small;">Ilan Tzitrin </span><br />
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Dinner for Schmucks” is easy to deride. One may claim that it is about schmucks and has been made for the same demographic, or that this review is a comeback by an insulted intelligence, or that in a plethora of modern comedies that are at once superficial, overblown, only strenuously funny and generally artless, “Dinner for Schmucks” has found its deserved place. One may make all those claims for the sake of rhetoric, but, while serving as textbook blurbs, they wouldn’t be entirely accurate. To be sure, “Dinner” is often cursory and empty, but at times it is fun and amusing. Digging deep into its topsoil of mediocrity, one may find in the bedrock a semblance of a heart and purpose, if one looks hard enough indeed.<br />
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The movie borrows its premise from the French comedy “The Dinner Game”: the seniors of a company entertain themselves by hosting occasional dinners and to them inviting idiots – perhaps the titular schmucks – in order to laugh at their misfortunes. The actual dinner happens toward the end and is probably not central to the story, however; far more dominant is the journey of Tim (Paul Rudd), the protagonist, who is about to get his long sought-after promotion when he is informed by his superiors that he must attend the dinner and prove his worth. As fate would have it, Tim unwittingly knocks over Barry (Steve Carrell) as he is picking up a dead rat from the road, and, finding the ideal guest, he insists on making the dinner, despite his wife Julie’s (Stephanie Szostak) solemn protest. “Things happen for a reason,” Tim claims.<br />
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As two dimensional as most of its characters are, “Dinner for Schmucks” is a character piece first and foremost, and because the writing is only sporadically sharp, comedic success is mostly owed to the performances. The centerpiece of the roles is no doubt Steve Carrell’s Barry, the biggest schmuck, as it appears at first. Indeed, Carrel has a knack for playing schmucks; lest that sounded disparaging, he is a talented comedic actor that happens to excel in deadpan fools. While Barry is a slight change in the sense that he is a varied character that requires no deadpan, he most definitely is a first-rate fool. After all, he is absolutely clueless, not only being utterly unaware of the repercussions of any of his actions, but also proudly following the Einsteinian notion that insanity is doing the same thing over and over again and expecting different results. Amusingly, Barry has a number of pronounced quirks, such as collecting dead rats, dressing them up, and using them to emulate popular artwork, or misquoting – more precisely underquoting – lyrics and proverbs. Early into the movie he invokes John Lennon, “You may say I’m a dreamer, but I’m not”; at the very end he claims, “A mind is a terrible thing”.<br />
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Another schmuck is Zack Galifianakis’ Therman, Barry’s boss, a bizarre IRS agent who claims to have mind control capabilities. Unsurprisingly, Galifianakis reprises his own deadpan talents in a role that is extraordinarily devoid of emotion. Two characters who are not invited to the dinner (but are schmucks nonetheless) are Jemanine Clemente’s Kieran, the self-obsessed artist for which Juli works, and Lucy Punch’s Darla, Tim’s long-forgotten one-night-stand who reappears at the worst time, kudos to Barry.<br />
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As mentioned, Barry is only the biggest dumbbell at first glance. The point of the movie is that the real schmucks are not the dinner guests but, contrarily, those who invite them. For instance, Tim comes off as an intelligent person, but after all is said and done, one gets the impression that his morality is inferior to that of the idiots and that he has trouble understanding logical consequences. In first manipulating Barry and then allowing for Barry’s own manipulations, Tim goes from striving and kempt to a human disaster. The self-dug hole in which he ends up by the end of the movie lacks common sense and deliberation.<br />
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The best scenes in “Dinner” happen when the writing steadies and the movie approaches some sort of realism; when it plays it straight, the punch lines tend to work and shreds of meaning linger. Regrettably, the movie frequently enters a surreal realm and becomes increasingly messy, invoking noise at the expense of humour. When the action onscreen becomes silly enough to transform straight characters into schmucks is when “Dinner” loses its touch. Yes, the implied thesis is that dimwits are ubiquitous, that real schmucks are not clear-cut, that one should not fault idiots like Barry as they are that way by design, and blame people like Tim who degenerate by choice. However, Tim is not an idiot by singular decisions and behaviour, just by his lack of foresight and his collective actions, and this is the way the writers should have handled his character.<br />
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“Dinner” is neither profane nor raunchy, a surprise if one were to compare by many concurrent comedies, but a fairly standard occurrence in director Jay Roach’s filmography, from “Austin Powers” to “Meet the Parents.” This relative cleanliness works neither to the film’s benefit, nor to its disadvantage; as mild are the technical achievements, of which there is nothing awe-inspiring or distracting. The movie’s true value comes from the casting of Steve Carrel, who lends some emotion to the character and the narrative, not to mention humour, perhaps affecting Tim’s character negatively in the short run but positively in the long. Living up to its title, “Dinner for Schmucks” is not a deep watch and is easy to deride, but one likeable character is what it takes to make it sporadically funny and pleasant enough. <br />
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<i>Originally posted on Playmountain (<a href="http://www.playmountain.net/">www.playmountain.net</a>) </i>Dmytry Karpovhttp://www.blogger.com/profile/06437937068724245306noreply@blogger.com0tag:blogger.com,1999:blog-4156609543325657092.post-73893211605621555582010-08-19T16:00:00.000-07:002010-11-22T13:03:03.343-08:00Length<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZVj2oPYBs3Srhyphenhyphenkox-vewS66dc29Lz1Yxx3Zh5ZpRlEr8bYPLE1ajp4jDh9pSLnK_9D6n8xhSgB5uwA_9CgeTbD7E4mhPy03GNZj6RV9CVBdzhCqlg8Lock_hI3AJ0ZK2WKZvgGfkpRk/s1600/joke-8743.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5507262399585037858" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZVj2oPYBs3Srhyphenhyphenkox-vewS66dc29Lz1Yxx3Zh5ZpRlEr8bYPLE1ajp4jDh9pSLnK_9D6n8xhSgB5uwA_9CgeTbD7E4mhPy03GNZj6RV9CVBdzhCqlg8Lock_hI3AJ0ZK2WKZvgGfkpRk/s400/joke-8743.jpg" style="cursor: pointer; float: left; height: 326px; margin: 0pt 10px 10px 0pt; width: 400px;" /></a> Sup guys. Today, I would like to talk about something that isn’t as commonly discussed as plot and characters, but that is still a very big issue in writing—one that can cause writer’s blocks, wasted nights, and rejection letters. <br />
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I am referring of course to length—of what? Well, of anything that goes in your book and the book itself. Most people worry about chapter lengths, but there are other aspects to consider too: act length, paragraph length, sentence length, and word length.<br />
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So I’ll start with the big one. Chapter length. Every writer that has accomplished anything has at one point asked himself: “Is this too long or too short? Crap.”<br />
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During my days as a beginning writer, I was frustrated and could not decide on the answer. So I turned to my friends for their opinion, but the feedback was mixed and did little to help. I did come to one conclusion though; it was not right. A lot of people said it was short, rushed, and dry. Others said it had way too much dialogue that needs to be simply cut.<br />
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So I locked myself in my room and started analyzing my writing. And it did not take long to realize why no one was satisfied with the lengths; they were not <i>consistent</i>. I was jumping from short to long and back to short, and that heavily affected my content.<br />
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I cannot stress enough how important consistency is in writing. All those things people pointed out to me (too much dialogue, rushed parts, etc) are not actually bad. It’s just that when they come and go—it gets confusing. Readers need to get used to your book. This is impossible if every chapter is different.<br />
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As you may have guessed by now, there is no <i>set</i> right length. You basically make your own. But then you stick to those rules—and you don’t break them. An easy way to check yourself: count all the words in your book, exclude outliers (if you have a few chapters of unusual length – which is ok) and get the average word count. If it is close to your average chapter word count, you’re all good. If not… look back and maybe do a revise.<br />
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That should effectively remove the length worry. I know it did for me. I figured out my average chapter length (which is about 2,000 words) and tried to stick close. I do have one chapter that is 400 words and one that is 3,500. But like I said, outliers are ok as long as they don’t become constant.<br />
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If you are wondering what is considered “close enough”, here is a quick system: from 2,000 to 5,000 try to stick within 1,000 words of the average, from 6,000 to 12,000—within 3,000 words. Over 12,000—just don’t get under 9,000. Under 2,000—you probably want to stick to the exact count.<br />
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Of course, this system is not carved in stone. Once you’re past your first major piece of writing, feel free to experiment.<br />
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Well, now I want to briefly address some other issued I mentioned at the top.<br />
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First is act length. If you don’t know what an act is and are serious about writing, I recommend you immediately grab a book, or go online and look it up. Chapters make up acts. Acts make up your book. <i>Chapters are not the last link in the chain</i>. Put simply, the acts are the beginning, middle, and end of your book. <br />
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Most books will have 3 acts. Some can have more. Since they are so broad in their nature, you want the 3 (or more) acts in your book to be about the same length. Often the first act will be <i>slightly </i>shorter than the rest. If you get beyond 5 acts, this may change. Past 5, acts become a lot more specific and important (and tricky), so it becomes possible to have outliers. When you outline your book, <i>always </i>try to make your acts as even as possible. You may need to do quite a bit of editing if you screw up that one part.<br />
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My last points are very specific and the first links in the chain—paragraphs, sentences, and words. <br />
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Paragraphs and sentences generally <i>do not need to be consistent</i>. They are so short in their nature that readers don’t need to get used to them. You can do whatever you want! <br />
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However, <i>unlike</i> chapter length, there is such a thing as <i>too long</i> and <i>too short</i>. One-word paragraphs are acceptable, but they cannot make up your book. The bare minimum you’re looking at is 3-sentences per paragraph, although outliers are allowed in a pretty big quantity. <br />
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The max you’re looking at is around 7 sentences, and here outliers have to be a lot more rare. Two-page-long paragraphs are <i>unacceptable</i>. You can have ONE in your book. If your book is 700 pages long, maybe two, but no more. They are impossible to follow and beyond frustrating. <br />
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In terms of sentence writing, use common sense. Most simple sentences are from 3 to 5 words. Complex sentences can be from 5 to 10 words. Compound sentences can go as long as 14-15 words. Try not to combine too many sentences into one. Don’t use unnecessary adjectives. <i>Avoid adverbs</i>. But as long as the sentence can makes sense and can be said without running out of breath, it’s legit.<br />
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Words are… not that important. There is no such thing as “too short”, and long words are very good. I’ll say two things. One, don’t have chapters with too many long words people don’t know. Two, during dialogue you will once again have to be consistent. Each character has a vocabulary, and you want to stick to that length. Well that’s pretty much it.<br />
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Have fun writing,<br />
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Will RockWill Rockhttp://www.blogger.com/profile/14557136676021782391noreply@blogger.com0tag:blogger.com,1999:blog-4156609543325657092.post-27984406942381864902010-08-13T00:53:00.000-07:002010-11-22T13:03:20.655-08:00Plots<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-LQUEkO4tcDWejf0NH5RhhMxHvyTPB9Zs7P18fLhG5mnjOp3Rpl-0gs9ULFy2CXx28MEAfqT64LRuLhl-ryGn_DWrsTZMtTtusRvQn7iv9l40tLPnm3hvdBSnaGRKQZUjFMWmC_auKSg/s1600/dna-strands.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-LQUEkO4tcDWejf0NH5RhhMxHvyTPB9Zs7P18fLhG5mnjOp3Rpl-0gs9ULFy2CXx28MEAfqT64LRuLhl-ryGn_DWrsTZMtTtusRvQn7iv9l40tLPnm3hvdBSnaGRKQZUjFMWmC_auKSg/s400/dna-strands.jpg" width="400" /></a></div> Plots. What are they?<br />
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Stories have plots. For without plots, nothing would happen. In fact, another word for plot, is storyline. Does that clear a few things up? Awesome. <br />
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And if it does not, lets call plots series of events, focused around specific subjects. Like separate DNA strands, intertwining to create genetically modified beasts. <br />
Sounds cool, doesn't it? Lets proceed.<br />
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Oh, and this post contains spoilers, on Star Wars 4, The Matrix, and The Dark Knight since they are used as examples. Continue at your own risk, the peril of spoiling great movies, awaits.<br />
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The first thing I'm gonna teach you guys, is that good stories have multiple plots, and that these plots are separate, even though they may deal with the same character.<br />
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For example, we have Luke Skywalker in Episode 4, who has two plots. <br />
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The first one is your typical hero's journey, or confront the enemy (Darth Vader), or action, plot. This starts with Luke being a farm boy whose guardians are killed. Then he goes to fight the evil empire. This plot ends when he blows up the Death Star.<br />
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The second plot is Luke's character plot, or a confronting a new idea plot, as opposed to a new enemy. The new idea is that Luke can use the force. <br />
This plot starts when he doesn't believe in the force, then is told by Ben that it is real and he can use it. The plot ends when Luke decides to use the force instead of his targeting computer to try and blow up the death star.<br />
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It is better to organize these plots separately. So it is a good idea to give each plot its own,<br />
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Hook<br />
Plot Point 1<br />
Pinch 1<br />
Midpoint<br />
Pinch 2<br />
Plot Point 2<br />
Resolution <br />
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So what do these mean?<br />
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<b>Hook: </b>The opposite of your resolution. For example, if you end with the Hero overcoming a fear of bees, the hook should start with him being scared to death of bees.<br />
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<b>Plot Point 1</b><b>: </b>Your character confronts his main problem, but refuses to face it. So, he confronts a beehive, than runs away. <br />
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<b>Pinch 1:</b> Your character is forced to confront his problem. Then he faces it many times, failing many times, having small successes...from time to time. So, he must destroy the beehive, otherwise the bee queen will takeover the world. How? Who cares, you decide.<br />
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<b>Midpoint:</b> Your character finally decides that perhaps he should face his problem. So, he decides that maybe bees are not all that scary. <br />
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<b>Pinch 2: </b>Your character is about to completely, utterly, fail at his goal. So, the bee queen is about to take over the world.<br />
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<b>Plot Point 2: </b>Your character overcomes his problem, and then solves it. So, the Hero remembers that bees are not scary, and steps on the bee queen, killing her.<br />
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<b>Resolution: </b>Your character ends up in the opposite state of how he was in the beginning. So, he is no longer scared of bees.<br />
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An easy way, to create this sort of plot outline, is to come up with your resolution first, then fill in the rest.<br />
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I must give credit to<a href="http://www.fearfulsymmetry.net/"> Dan Wells</a>, the creator of this outline style, called The Seven Point System. Notice how there are seven point in the outline? Makes sense doesn't it? <br />
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Also, be warned that I will often refer to Plot Point 2, as the climax of a plot, because really, that's what it is.<br />
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Now, back to the tips.<br />
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The reason why it is better to structure your plots separately is so that you can create awesome pacing.<br />
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Here's how.<br />
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When only one plot is being developed in a scene, the pacing is slow to moderate. <br />
To make awesome scenes, with high tension and pace, you just bring in multiple plot lines at the same time.<br />
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That's why the ending to A New Hope is awesome. Both of the plot lines, (Use the Force, and blow up Death Star) Have their climax (or Plot Point 2) at the same time. Or almost the same time. Luke uses the Force first, then the Death Star blows up. <br />
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However most of the movie keeps the plots separate. Here's how.<br />
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Whenever Luke is learning about the Force he is never fighting the evil empire or running away from it.<br />
Whenever he fights the empire, he never uses the force.<br />
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The one time he does...is in the end...which is why it is awesome.<br />
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So...organizing plots separately allows you to plan climactic scenes, and the scenes that build up to these, easily.<br />
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Another good example of a climax that ties in plots is the Matrix.<br />
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It ties in three plots in the end.<br />
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First: The bad guy plot, Neo fights Smith, and defeats him.<br />
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Second: The idea plot, Neo finally accepts that he is the one.<br />
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Third: The romance plot, Trinity reveals that she loves Neo. <br />
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These all happen like in the same minute, which makes this one minute awesome. <br />
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Another trick that comes from this is...lets say you fear that your book is becoming boring in the middle. You can tie in a few plots together for a while...this will increase the tension. Or since climaxes are exciting...you could simply have one of the plots climax in the middle, by itself.<br />
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This is done often. Matrix does this, with the betrayal plot. In around the middle, the betrayer is revealed, and then he screws over Morpheus, then he is killed. This is a really cool climax. However the story continues.<br />
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Another cool example is The Dark Knight:<br />
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Before the end we have two climax's happen at the same time. We have the action climax. Where Batman defeats the Joker. And we have the idea climax. Are people truly bad...this ends with the people on the boat not blowing each other up.<br />
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Then after...yes there is another climax...we have Batman's character (or another idea) climax. This is where he finally decides that Batman doesn't need a good image, and that he should be blamed for the murder.<br />
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All of these climax's are the ends of different plots. Which we have, as far as I'm concerned, four of in the Dark Knight. <br />
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1: The Joker antagonist<br />
2: Are people really bad?<br />
3: 2 Faces Tragedy.<br />
4: Batman's Character Development.<br />
5: Batman's Romance.<br />
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Oops..did I say four, no there are five.<br />
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Batman also has his Romance, which is also a bit of a tragedy, since in the end it doesn't work out for him. This climaxes early in the movie when his girl is blown up. This also intertwines with the Joker plot...because he kills her. Since these two plots meet, the scene is awesome.<br />
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However, how can we be sure that there really is a romance plot and its not just the Joker plot, with him killing the girl? Simple. There are scenes in the movie that have to do only with the romance, and have nothing to do with Joker. Like, when Bruce doesn't get her letter. And when he is trying to win her back early on from Two Face. <br />
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So, this is the reason Dark Knight is so awesome. It has five plots, with five climax's. <br />
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Honestly, it might even have six, with the detective guy...and how he is betrayed by his own men...okay The Dark Knight has six plots. SIX!!!!!!!!!!!!!<br />
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That is why it such an awesome movie. <br />
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So, now we know that if we want an awesome book we need multiple plots, multiple plots that could center, and probably at least two should, around one character. <br />
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Now we know that when plots overlap, you end up with awesome scenes. <br />
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We also know that ending plots early, allows you to have awesome early climaxes.<br />
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We also know that the final ending, should be at least two plot climaxes in quick succession.<br />
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We also know that doing all of this, practically guarantees success. <br />
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The hardest part about doing all of this, is identifying the different plots. Because once you do that, you're set.<br />
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Personally, here are the different types of plots I have identified so far.<br />
<b><br />
1: The Villain plot:</b> Antagonist is doing bad things. The Hero must stop him.<br />
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<b>2: The Idea plot: </b>The protagonist confronts a new idea. Accepts it in the end.<br />
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<b>3. The Tragedy plot</b>: Hero starts of happy. Then in the end is dead or in misery, due to outside forces, but also a character flaw.<br />
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<b>4. The Romance plot:</b> The protagonist starts of single. In the end gets the girl or guy.<br />
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<b>5. The Betrayal plot.</b> The protagonist starts of with a friendship. Ends with the betrayal, and then either defeating the betrayer or becoming friends again.<br />
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<b>6. The Horror plot.</b> The protagonist encounters an unseen danger. Ends with either the understanding and destruction of this danger...but much more often the danger ends up killing everyone. Mostly a reactive plot.<br />
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<b>7. The Mystery plot.</b> There is a mystery. Clues are found. Then the mystery is solved. A mix of reaction to bad things happening and proaction to figure out the mystery.<br />
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<b>8. The Thriller plot.</b> The protagonist has something to do, like a job, and the stakes are high. Starts with getting the job. Goes through many try fail cycles. Then succeeds in the end. Is very proactive. The Thriller is similar to a villain plot, except the protagonist does not react to the villain since there is no villain. Instead he or she just has many laid out problems, that they try to solve. There is also no mystery. <br />
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That's all I have so far. In my mind all of these are clearly different plots. Yet many of them can overlap easily, which means that they can easily be used in one novel. Also remember...you can have more than one of each of the plots in your book...you can have two ideas...or two betrayals...<br />
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Hopefully this helps you guys in outlining and pacing your novels, as well as creating awesome climaxes. <br />
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For now...just try to understand everything I have said, and comment, telling me your own thoughts on this technique.<br />
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Have fun writing.Dmytry Karpovhttp://www.blogger.com/profile/06437937068724245306noreply@blogger.com0tag:blogger.com,1999:blog-4156609543325657092.post-83754157941073145252010-08-12T23:14:00.000-07:002010-09-08T18:32:11.970-07:00The Last Airbender<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3Cqd_GZM8oN3kOwCKUXJSmj5tMKfJCVDmjUQwOY5G0VYSC2HsJtoAOldfD7CqchpnWInPcYAZhkjHACHpzrs16y_YDqe9BJtcnWo8jb1JPIN1BudQWxviLlX14pyRzXWWfjxnK_m3_CQ/s1600/the_last_airbender_movie_poster.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5504775213635541730" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3Cqd_GZM8oN3kOwCKUXJSmj5tMKfJCVDmjUQwOY5G0VYSC2HsJtoAOldfD7CqchpnWInPcYAZhkjHACHpzrs16y_YDqe9BJtcnWo8jb1JPIN1BudQWxviLlX14pyRzXWWfjxnK_m3_CQ/s400/the_last_airbender_movie_poster.jpg" style="cursor: pointer; float: left; height: 400px; margin: 0pt 10px 10px 0pt; width: 267px;" /></a> When a TV series is turned into a movie, it’s usually somewhat-successful amongst the hardcore fans of the series. When an anime cartoon is made into a full-length film, it is usually a disaster.<br /><br />Such is the case with <a href="http://www.imdb.com/title/tt0938283/">The Last Airbender</a>. This pathetic attempt to make a movie out of a cartoon was easily the most frustrating film of 2010 by far. Like wow. <br /><br />I’ll try to review this properly, hard though it may be, by starting with the positives.<br /><br />The movie does have some good effects. The magic or “bending” scenes had some nice animations, with fire, water and huge rocks rising from the earth. That was neat.<br /><br />Also, at times, the movie does succeed at being funny. Though, not “haha” funny. You know when someone says something really stupid and you laugh in your head thinking “wow, what an idiot”? I had a lot of those moments when protagonists and other important characters did anything besides standing still.<br /><a name='more'></a><br />As I happen to know, the movie also appeals to children under 12. It took some thinking on my part to figure out why. My reasoning is that this “movie” is so unbelievably shallow, straightforward, deprived of twists, or mystery of any kind that even a kid can understand it easily. Kids generally cannot understand complex movies like Inception, so this 2-hour-long “movie” might appeal to them in the same way that a 20-minute cartoon episode would. So, hooray. It appeals to kids.<br /><br />Well, that’s the good stuff. Here’s what I really think about this film.<br /><br />First of all, the fact that $150,000,000.00 was spent on this monstrosity makes me and God cry. There are African children dying this day, and the money that could go to their food stores was instead used to torture America. I can’t speak for Europe, but I’d wager they’d agree. What we have is a completely unoriginal, ripped-off, poorly produced attempt to squeeze money out of a somewhat-famous anime, and to top it all it was poorly acted. I mean they couldn’t even pronounce names right! <br /><br />Scene to scene, the exact same actors, with their exact same vacant expressions, said their memorized lines in the exact same tone and volume. I suspect a conspiracy; in order to save money, the director made robots play the main roles.<br /><br />Nah, even robots could do better. With robots their level of talent would be at zero. Here it’s in the negatives. It’s not that there’s no talent showing – it’s that the <i>lack</i> of talent is displayed on a 40-foot-long screen and is screaming for you to notice it.<br /><br />And notice it I did. All the “good guys” main actors are gonna have serious reputation problems. I don’t know where they dug up Nicola Peltz, but Jackson Rathbone will not have all the fans he made from starring in Twilight. The “bad guys” in the film are not that bad – there is some decent acting, and even character development (wow!).<br /><br />The plot is… terrible. First of all, it is completely ripped off from the cartoon, which is not necessarily bad (after all, it is an adaptation). It follows a simple plot structure. You got your inciting incident, climax, etc. <br /><br />So why did I say it’s bad? Because, although there is technically a story progression, most of the time <i>nothing happens</i>. They fly from place to place, fight the exact same battles with the exact same bad guys, keep entering “the spirit world” and talking to that dragon again, and again, and again. That goes on for about ¾ of the movie. In the end, when something that actually matters <i>does</i> happen, we are left with nothing. The fish resurrect, the bad guys escape, and we are left with the most boring “to be continued” ending ever.<br /><br />Well, I’m reaching the end of my review, so this is where I’m supposed to recommend this movie or not.<br /><br />Here’s what I’m gonna say. Take $11.75, go to a fountain, throw it in there and make a wish. That will be more rewarding than spending it on The Last Airbender. If you are the kind of person who doesn’t believe in that stuff, blow you nose with that $10.00 bill. That way, you actually won’t <i>completely</i> waste it :)<br /><br />Write you later,<br /><br />Will RockWill Rockhttp://www.blogger.com/profile/14557136676021782391noreply@blogger.com2tag:blogger.com,1999:blog-4156609543325657092.post-68785113740291859472010-08-10T11:15:00.000-07:002010-08-10T11:37:00.385-07:00Dialogue<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyiDdKk-mzKJRhK9lmttlCinzUzqu-w5OOTWmDFVXhB2HS3CFtIHNgCEjoceyqIWqxs9CpIpxrHLSDscjgJFb6PSmyjqynJsCliExD-dPlULLS2uDpsF0J-4kLS2kf7_2HStqG0lM0XeI/s1600/dialogue.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 259px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyiDdKk-mzKJRhK9lmttlCinzUzqu-w5OOTWmDFVXhB2HS3CFtIHNgCEjoceyqIWqxs9CpIpxrHLSDscjgJFb6PSmyjqynJsCliExD-dPlULLS2uDpsF0J-4kLS2kf7_2HStqG0lM0XeI/s320/dialogue.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5503847348201828098" /></a><br />So what exactly is dialogue?<br /><br />Why dialogue, is a conversation between two or more people. Or just one person with himself, which would be internal dialogue. It is the main way of communication between your characters, and the life and blood of most novels.<br /><br />How your characters communicate is what shows their personality and by extension it defines your characters. It does so much stronger than thoughts, and sometimes even stronger than actions (although actions do speak louder than words). This may not be obvious, I know it wasn’t to me. But it is.<br /><a name='more'></a><br />Let’s see how. When you meet a new person, how do you judge them? Yes, appearance makes the first impression, but really it’s what they first say, and how they say it, that marks them in your head. And later, when first impressions pass, it is the person’s communication skills that make you want to spend time and be friends with them… or to get away from them ASAP.<br /><br />It’s the same with your characters. Good dialogue makes readers want to spend more time with your book, whereas bad dialogue bores them. Having no dialogue is like having a mute friend, and having too much dialogue is like being around those people that never shut up (you know how annoying those are :P). <br /><br />So we should try to balance. Of course exceptions exist (like people who always talk, and others just listen to them), but mostly you want to stick to the rules. What are the rules? Why you make your own. It is up to YOU as a writer to decide how much dialogue to include in each individual chapter, and what you say goes. For example, in the novel I am working on now (parts of which will be posted soon), I have one short chapter with no dialogue at all… unless you count internal.<br /><br />So how do you write good dialogue? <br /><br />In order to write good, believable dialogue, the most important thing is to <em>know your characters</em>. If you don’t know them, you can’t write from their perspective. Your dialogue has to be consistent and appropriate. What I mean, is that your characters should pretty much sound the same (without sudden personality changes), and what they say should be setting-appropriate. A separate post on consistency will come soon.<br /><br />Now, here’s the tricky part. Although you want your characters to remain consistent, you also want the dialogue to be… unexpected. You want to make it unique each time. A good example that Dmytry has brought up to me before – the Joker in Dark Knight. He doesn’t talk like you would expect a person to talk, of course with the Joker its obvious why (he’s crazy), but that’s what makes him a good example. With most characters it’s less obvious, and analyzing their uniqueness would be a whole other post (Hmm. Perhaps I should suggest that to Dmytry).<br /><br />Unique dialogue makes unique characters. Expected dialogue makes stereotypical characters. Unique characters are memorable, and that’s what you want in your book.<br /><br />Always try to make the dialogue believable, and remember – what they say is what they are. Like I said, in life you judge people by their communication. Because of that, dialogue is a lot easier to relate to, than say internal thoughts. If you are writing in first person, or third-person limited than you don’t even have the option of internal thoughts, besides the point-of-view character. If you are writing in omniscient (which is my personal favorite), you have a bit more liberty. But even then, internal thought does not substitute dialogue. Nothing does. They can add to it, or make it stronger. That’s what you want to do.<br /><br />I guess the purpose of this post is not to teach you how exactly to write dialogue (because let’s face it, there is no 1 right way), but rather to show you <em>how</em> to use it, as well as what to consider while writing it. Remember, dialogue is the face of your characters, and characters are the face of your book. Apply your talents, my fellow writers, and most importantly, enjoy writing.<br /><br />Till next time,<br /><br />Will RockWill Rockhttp://www.blogger.com/profile/14557136676021782391noreply@blogger.com0