Q. What's with the wonky update schedule?
A. At school, I usually have classes until six, with a few small breaks crammed in for homework and practice. Afterwards, I have individual practice time (I play in about four ensembles and I have private lessons), a few chamber music rehearsals per week, club meetings (also I'm crazy and am trying to start another club), homework, etc. It's a rarity that I go to bed before midnight.
Oh. And I have a roommate and there are crazy vocalists who like to stalk me. I can't write with people watching me, plus I don't like explaining why I'm writing gay furry fan fiction (still trying to figure that out myself).
Q. Will there ever be sex?
Maybe. Will it be explicit? No.
I think explicit sex can play an important role in a story, depending on how realistic you're trying to be, or what kind of message you're trying to convey. But any good I'd gain from it would be negated for these reasons:
1. Explicit sex is illegal on FFN, and I don't like having my stories taken down. If I tried to Break The Law by putting it up anyway, I'd have to at least put the fic as M, and then it's off the front page and nobody sees it.
2. Most of my readers are underage, and some of them probably aren't old enough to be reading even a T-rated fic. My view is that sex does not equal porn and rating systems result in a lot of unnecessary censorship, but my view is neither the law nor the common belief here on FFN. Plus, the last thing I want is having someone whose profile says they're thirteen telling me my story is hot.
3. On FFN sex is too big of a deal, probably because the majority of people who write it write porn. Instead of a story with sexual content being a story, it's called a lemon. I write stories, not lemons. (Consequently, if I were to write sex, it would not be porn, which I think is what a lot of people would want anyway.)
Q. I found a plot hole! Will you give me a nickel?
No. Chances are that I've already found it myself, or that you're overlooking something that makes a plot hole less holey. Chances are more likely that the plot hole isn't really a hole, but it's contingent upon something that's implied and not directly stated. If I wrote a story where everything was completely explained and justified, it would be a history textbook.
If it really is a plot hole, tell me about it. But note that my job isn't to completely fill all of the gaps; it's to fill enough of them so that the readers can fill in the rest. That sounds a bit crude, and people will probably accuse me of being lazy, but it's true. If I have to add a paragraph that will confuse 200 readers and clarify a hole to one, I will choose to omit the paragraph and have that information be implied instead.
Q. I found a typo! Will you give me a nickel?
No. But tell me where it is so I can fix it. I edit my stories extensively, but I have no editor or beta-reader, and trying to catch all of my own typos is impossible. It's not that I don't try to find them; it's that when I do, I just read straight through them and never notice.
12/24/10
12/22/10
Six update
So, for those of you who haven't noticed yet, I posted the next chapter to Six. Hopefully the next one won't take too long, but I'm buying myself GPO for Christmas so I'll probably be stuck behind the synths for at least a week or two. We'll see.
And since this might be the last update until then, happy holidays to everyone!
And since this might be the last update until then, happy holidays to everyone!
11/4/10
Busybusybusy
Sorry for the delays, but the last few weeks have been pretty crazy for me, and I don't see it letting up any time soon. I'm often struggling to find time to write, and struggling to find time in that time to focus on "Six." I have some other fanfics in progress, but they're not developed enough that I feel an announcement is necessary.
The keen-eyed might note that I've killed my forums. It's something I've wanted to do for a while, and it took seeing that I've only received one hit in the past two months (from a beta-seeker) to spur me to doing it. If there's anything that you really feel you want to read, such as my tutorials, send me a message... but bear in mind that I did delete the forums for a reason.
(Don't take this as a sign that I'm abandoning the Star Fox community. Apocrypha has always had my full support, but it ultimately failed to serve its purpose. It was a far too ambitious community, with far too little marketing, to run smoothly in the Star Fox section.)
ETA: Note that there's a very good forum on FFN, "Writers Anonymous," that you can find on the common forums listing. Lots of brilliant writers go there, and it's definitely worth investigating.
The keen-eyed might note that I've killed my forums. It's something I've wanted to do for a while, and it took seeing that I've only received one hit in the past two months (from a beta-seeker) to spur me to doing it. If there's anything that you really feel you want to read, such as my tutorials, send me a message... but bear in mind that I did delete the forums for a reason.
(Don't take this as a sign that I'm abandoning the Star Fox community. Apocrypha has always had my full support, but it ultimately failed to serve its purpose. It was a far too ambitious community, with far too little marketing, to run smoothly in the Star Fox section.)
ETA: Note that there's a very good forum on FFN, "Writers Anonymous," that you can find on the common forums listing. Lots of brilliant writers go there, and it's definitely worth investigating.
10/26/10
I'm on tour!
I understand there are lots of people that I owe reviews, stories, replies, etc. But for the next two days, I will be on tour throughout the state with my school, playing concerts.
Be back later!
Be back later!
10/17/10
"Six" chapter up
So, the latest chapter of "Six" is up. You should all go read it now.
I'm now making my blog the official "afterthoughts of posting a chapter" place, since placing notes in the story itself is slack.
So, afterthoughts. Basically I said "Screw it" and posted it after my last set of revisions, so there are probably some errors, but after working with editing the same chapter for weeks, I think it's time to for it to go on out.
Also it ventures dangerously close to M-rating, but eh, the story will go where it goes. The few times I've tried to resist the natural flow of a story, it's always ended up bad.
Anyway. I am tired, so I will now go to sleep before I start typing jibberish.
I'm now making my blog the official "afterthoughts of posting a chapter" place, since placing notes in the story itself is slack.
So, afterthoughts. Basically I said "Screw it" and posted it after my last set of revisions, so there are probably some errors, but after working with editing the same chapter for weeks, I think it's time to for it to go on out.
Also it ventures dangerously close to M-rating, but eh, the story will go where it goes. The few times I've tried to resist the natural flow of a story, it's always ended up bad.
Anyway. I am tired, so I will now go to sleep before I start typing jibberish.
9/23/10
Quick update
In light of an upcoming performance and a lot of hefty schoolwork, I've been slacking for the past week or so on "Six." I would've posted the next chapter by now, but I added some content and I don't feel confident enough with the new content to post it.
I might spend a good bit of time editing this next chapter. There are some parts of it that I am very tempted to delete. Right now, it's mainly a struggle of exactly how much information to give.
I might spend a good bit of time editing this next chapter. There are some parts of it that I am very tempted to delete. Right now, it's mainly a struggle of exactly how much information to give.
9/14/10
Progress update
So, the new chapter of "Six" has been done for a while. Right now I'm working on writing up the chapter after that.
I anticipate the next chapter will be lot of people's favorite chapter. I'm a bit unsure about some of the stuff I'm doing, and there's a lot of stuff near the end of it that seem a little wonky and I might eventually be taking out. But eh, it should be a fun chapter, if I do it right.
I anticipate the next chapter will be lot of people's favorite chapter. I'm a bit unsure about some of the stuff I'm doing, and there's a lot of stuff near the end of it that seem a little wonky and I might eventually be taking out. But eh, it should be a fun chapter, if I do it right.
9/6/10
New chapter
So, there's a new chapter of "Six" up. Go check it out; it's not as "OMGWTFBBQSOMEONESETUSUPTHEBOMB" as the last chapter, but it's still okayish. (If every chapter was "OMGWTFSOMEONESETUSUPTHEBOMB," then it would be boring, anyway).
I've got most of the next chapter written and I'm starting on the one after that. Hopefully it won't take too long to get the next one up. I anticipate that a lot of people will really like it. Some won't, but the ones who won't probably shouldn't be reading my fics to start with.
Overall, I can say that so far I've had plenty of time to write here, maybe more than I did at my old school because I'm getting distracted by video games a lot less here.
But as I usually say, We Shall See. "Six" keeps getting longer and longer in my head, but maybe it won't be too long before we start to get near the end.
I've got most of the next chapter written and I'm starting on the one after that. Hopefully it won't take too long to get the next one up. I anticipate that a lot of people will really like it. Some won't, but the ones who won't probably shouldn't be reading my fics to start with.
Overall, I can say that so far I've had plenty of time to write here, maybe more than I did at my old school because I'm getting distracted by video games a lot less here.
But as I usually say, We Shall See. "Six" keeps getting longer and longer in my head, but maybe it won't be too long before we start to get near the end.
8/31/10
Plot devices
You know how when you read a story and it seems like it's going in one direction, then something convenient happens and it's starts going somewhere else? For example, the characters spend forever searching for X, then they... arbitrarily find X by chance. Or, in romance, you have two love-stricken characters who are paralyzed by shyness, but something convenient happens that confines 'em together.
In both cases it's a shift of direction, but I'll start with the latter example of romance because it's simpler. Before I explain anymore, let's address something: what is a story?
How is a novel structured?
Basically, in the beginning, you introduce a conflict. In the romance story, that conflict is shyness. A good, logical story would have the character CONFRONT and SOLVE that issue on his own--when that happens, that's the climax. Such a progression would be the natural path of the story.
(Does that path sound boring to you? It does to me. That's because the conflict is extremely weak; it could never create a strong novel on its own. But that's an issue for another day.)
Often, what happens instead of the natural path of the story--because that story is very weak--is a plot device that sends the story spiraling into another direction. Something shoves the characters together, and shyness is no longer that much of an issue. Sure, it's still there, but the characters no longer have to approach each other. In furry fiction, this is usually the point at which they get together, make perfect first-time sex, and the story ends:
Now, it is possible for a plot device there to instead carry the story to a really strong position:
This is what I call discontinuity syndrome--the story starts weak with a weak conflict, then a plot device sends it spiraling into a strong, tense work of fiction. Sometimes, you can do that on purpose and use it to your advantage, and you'll know when that opportunity comes. Generally, though, that's not what we want to do.
In my opinion, if you have a story that looks like the above diagram, you're starting in the wrong place. Start with the REALLY BIG CONFLICT that everyone wants to read about. You don't have to smack everyone in the face with it on the first page, but you really should open a book at a strong point, not a weak one. Work the weak conflict into the strong one.
For example, instead of having the characters meet each other, go gaga over each other, then get forced together, open the book where they get forced together. Their feelings could now be distracting them from the plot--that's a conflict, stronger than shyness, that produces tension and helps drive the story forward. Heck, maybe when the plot's at the climax and there's about to be a BIG EPIC BATTLE, that can motivate them to get together--or as I would do, have them break off.
Basically, what we DO NOT WANT is a Plot Device that shifts the focus of the story--meaning that it solves a conflict that the characters otherwise would've had to solve on their own. Honestly, why do it for them? You're killing your own story by nuking the tension.
There's a special type of plot device called a deus ex machina that's pretty similar to what I'm talking about, and I'm sure it's familiar to just about about all readers of fan fiction.
More technical definition:
The classic example of a deus ex machina is "It was just a dream" syndrome, where something terrible happens, except it didn't. Or maybe something terrible is about to happen the protagonist, and someone arbitrarily saves them (I'm looking at you, Tom Bombadil).
Contrary to popular belief, deux ex machinae are not *all* bad, but most of them are. One that's really good is the one at the end of Basil's "Finding Time." There's one at the end of Hamlet, too. Just stick with my definition and never let a deus ex machina solve the major conflict.
For the record, though, you are given one plot device that you are automatically allowed to use to get the story going. It's my belief that the inciting incident should come from a plot device that sets the story on a certain direction--and it should stay on that same path the whole time. Of course, the characters might not always know exactly what path they're supposed to be taken, and that's fine.
And that leads me to the good plot devices. Yes, they exist! And if you don't use them, you are silly.
Let's take the imaginary novel in which the goal is for particle physicists to discover the Higgs boson (force-carrying particle that determines objects' mass). Let's look at the natural path:
Since we know what a bad plot device is, let's examine a few:
1.) someone else finds it first;
2.) someone else proves that it doesn't exist;
3.) the LHC appears to lack the strength to detect the particle
Now let's look back at the natural path of the story. It's not bad, but I as a writer have a problem with it: it's too linear. I ask myself, "Who'd want to read that story?" and I don't get any answer besides "physics nerds!" From the very beginning, you can pretty much tell that they're going to find the particle. End of story.
Here's a trick to writing. People do not want predictable stories. They want stories that are predictably unpredictable. You can have them find the Higgs if you want, but I might choose to take a different path.
What if the particle collisions have enough energy to force open some of space's extra six dimensions? What if it creates a "bubble" of 9D space that researchers can enter? What if inside the bubble, they find not only the Higgs, but other particles that allow them to act in unheard of ways in the existing three dimensions? What if it allows them to write the equation of the universe?
I know it's physics-nerd science fiction, but it's the basis for good physics-nerd science fiction, if you do it well enough. The researchers could all agree to keep the unlocking of the universe secret, but maybe one of them could betray the pact and try to use new-found science to make himself into God. So the researchers not only have to stop the mad scientist, but also answer reports and provide fake test results for those who funded their research.
Those are the kinds of plot devices you want to use. As cliché as the last example sounds, it's much more interesting than a boring linear story.
But aside from those kinds of things, I just really dislike plot devices. iDunno.
In both cases it's a shift of direction, but I'll start with the latter example of romance because it's simpler. Before I explain anymore, let's address something: what is a story?
Character A wants something and something is preventing him from getting it.
How is a novel structured?
inciting incident -> rising action - > CLIMAX <- falling action <- conclusion
Basically, in the beginning, you introduce a conflict. In the romance story, that conflict is shyness. A good, logical story would have the character CONFRONT and SOLVE that issue on his own--when that happens, that's the climax. Such a progression would be the natural path of the story.
(Does that path sound boring to you? It does to me. That's because the conflict is extremely weak; it could never create a strong novel on its own. But that's an issue for another day.)
Often, what happens instead of the natural path of the story--because that story is very weak--is a plot device that sends the story spiraling into another direction. Something shoves the characters together, and shyness is no longer that much of an issue. Sure, it's still there, but the characters no longer have to approach each other. In furry fiction, this is usually the point at which they get together, make perfect first-time sex, and the story ends:
weak inciting incident -> weak conflict -> plot device -> climax (pun'd)
Now, it is possible for a plot device there to instead carry the story to a really strong position:
weak inciting incident -> weak conflict -> strong plot device -> strong rising action -> ...
This is what I call discontinuity syndrome--the story starts weak with a weak conflict, then a plot device sends it spiraling into a strong, tense work of fiction. Sometimes, you can do that on purpose and use it to your advantage, and you'll know when that opportunity comes. Generally, though, that's not what we want to do.
In my opinion, if you have a story that looks like the above diagram, you're starting in the wrong place. Start with the REALLY BIG CONFLICT that everyone wants to read about. You don't have to smack everyone in the face with it on the first page, but you really should open a book at a strong point, not a weak one. Work the weak conflict into the strong one.
For example, instead of having the characters meet each other, go gaga over each other, then get forced together, open the book where they get forced together. Their feelings could now be distracting them from the plot--that's a conflict, stronger than shyness, that produces tension and helps drive the story forward. Heck, maybe when the plot's at the climax and there's about to be a BIG EPIC BATTLE, that can motivate them to get together--or as I would do, have them break off.
Basically, what we DO NOT WANT is a Plot Device that shifts the focus of the story--meaning that it solves a conflict that the characters otherwise would've had to solve on their own. Honestly, why do it for them? You're killing your own story by nuking the tension.
There's a special type of plot device called a deus ex machina that's pretty similar to what I'm talking about, and I'm sure it's familiar to just about about all readers of fan fiction.
Deus ex Machina: a writer writes himself into a corner, and the characters can't resolve the conflicts on their own, so the writer pulls a god out of his ass and it solves the conflict for them.
More technical definition:
A deus ex machina is something that resolves the plot in place of the characters; the characters never solve X problem, because some outside force does it for them.
The classic example of a deus ex machina is "It was just a dream" syndrome, where something terrible happens, except it didn't. Or maybe something terrible is about to happen the protagonist, and someone arbitrarily saves them (I'm looking at you, Tom Bombadil).
Contrary to popular belief, deux ex machinae are not *all* bad, but most of them are. One that's really good is the one at the end of Basil's "Finding Time." There's one at the end of Hamlet, too. Just stick with my definition and never let a deus ex machina solve the major conflict.
For the record, though, you are given one plot device that you are automatically allowed to use to get the story going. It's my belief that the inciting incident should come from a plot device that sets the story on a certain direction--and it should stay on that same path the whole time. Of course, the characters might not always know exactly what path they're supposed to be taken, and that's fine.
And that leads me to the good plot devices. Yes, they exist! And if you don't use them, you are silly.
Let's take the imaginary novel in which the goal is for particle physicists to discover the Higgs boson (force-carrying particle that determines objects' mass). Let's look at the natural path:
inciting incident (someone predicts the Higgs's existence) -> rising action (physicists construct the LHC, a huuuuuuuge particle accelerator, and run into all kinds of problems along the way) -> CLIMAX (They find the particle!) <- falling action (Celebrations, awards...) <- Conclusion (The results are published.)
Since we know what a bad plot device is, let's examine a few:
1.) someone else finds it first;
2.) someone else proves that it doesn't exist;
3.) the LHC appears to lack the strength to detect the particle
Now let's look back at the natural path of the story. It's not bad, but I as a writer have a problem with it: it's too linear. I ask myself, "Who'd want to read that story?" and I don't get any answer besides "physics nerds!" From the very beginning, you can pretty much tell that they're going to find the particle. End of story.
Here's a trick to writing. People do not want predictable stories. They want stories that are predictably unpredictable. You can have them find the Higgs if you want, but I might choose to take a different path.
What if the particle collisions have enough energy to force open some of space's extra six dimensions? What if it creates a "bubble" of 9D space that researchers can enter? What if inside the bubble, they find not only the Higgs, but other particles that allow them to act in unheard of ways in the existing three dimensions? What if it allows them to write the equation of the universe?
I know it's physics-nerd science fiction, but it's the basis for good physics-nerd science fiction, if you do it well enough. The researchers could all agree to keep the unlocking of the universe secret, but maybe one of them could betray the pact and try to use new-found science to make himself into God. So the researchers not only have to stop the mad scientist, but also answer reports and provide fake test results for those who funded their research.
Those are the kinds of plot devices you want to use. As cliché as the last example sounds, it's much more interesting than a boring linear story.
But aside from those kinds of things, I just really dislike plot devices. iDunno.
8/20/10
Status and CAD!
So, I'm all moved in and so far everything's all fine and dandy. I've had a lot more free time than I was expecting, but the arts classes (and performances) really haven't started up yet. Weird thing is, I've had time to write, but I haven't been doing it. Huh.
Anyway. According to FA, tomorrow is Comment Appreciation Day, which means it's the day where all the artists are supposed to show how much they appreciate their readers.
I'm one of the weird artists that always responds to people who comment on my stuff (unless the comment is something I can't really respond to; I'd give examples but I'd prefer not to). Recently, I've been getting a few new readers, for which I am very thankful. It's always good to get back from a busy day of school (and disorienting orientation) and find that people have written me. Honestly, it is because I have an audience that I still write fan fiction; the serious writer in me has moved on to original works, but it's still immensely fun and relaxing to write fan fiction, and I find that the community is willing to tolerate me enough for me to post my stuff here.
So, long story short: as vain as it sounds, commentses are why I'm here. I appreciate everyone who reviews or otherwise acknowledges my existence, though I don't always express it.
Anyway. According to FA, tomorrow is Comment Appreciation Day, which means it's the day where all the artists are supposed to show how much they appreciate their readers.
I'm one of the weird artists that always responds to people who comment on my stuff (unless the comment is something I can't really respond to; I'd give examples but I'd prefer not to). Recently, I've been getting a few new readers, for which I am very thankful. It's always good to get back from a busy day of school (and disorienting orientation) and find that people have written me. Honestly, it is because I have an audience that I still write fan fiction; the serious writer in me has moved on to original works, but it's still immensely fun and relaxing to write fan fiction, and I find that the community is willing to tolerate me enough for me to post my stuff here.
So, long story short: as vain as it sounds, commentses are why I'm here. I appreciate everyone who reviews or otherwise acknowledges my existence, though I don't always express it.
8/13/10
FFIX story, and I'm off!
Oh, hey, I uploaded a FFIX story that I wrote like eight years ago. And with that, I must announce my departure! Tomorrow I'll be packing up my stuff, including my computer, and preparing to ship off to the dorms. On the way, I hope to pick up enough books to last me for a while, and that's always a good thing.
I don't know how the schedule's going to work or if I'll have much time to write, but if I don't, it won't be a big deal. Who knows--some time away might be good for my long-run productivity.
Wish me well!
I don't know how the schedule's going to work or if I'll have much time to write, but if I don't, it won't be a big deal. Who knows--some time away might be good for my long-run productivity.
Wish me well!
8/11/10
Neat stuff
So, apparently Google Documents will let you edit a document with peers (as editors or observers) that you invite, and you can open a chat room that contains yourself and all the peers.
In other words, Google Docs works as a LifeStream for writers, with chat. Basically, you can watch a writer write as he writes, and if you want to ask a question or say something, you can. Writers can collaborate on a single piece at one time if the host gives the other person permission to edit the document. Or, two people can examine a document together and critique it. All that's necessary is that the writer either make his documents public, or that he distributes the URL of his Docs session to those that he wants to sit in.
Of course, with the LiveStream application, it's bad because it could be distracting to the writer, but a bit of discretion on the part of both writer and viewers can prevent it from getting too bad. And if all else fails, you can just disable the chat.
So far, it's helped me, at least. I always think I am ridiculously slow at writing, but I recently viewed a session of an author whose works I don't care for too much, but whom I respect a good bit. He's met with some success, and he writes at about the same pace that I do, so that makes me feel a bit better.
Interesting ideas. Maybe I'll try it out one day. I doubt anyone's too interested in seeing me write, but if there's ever much of a demand for it, I wouldn't mind. I'd be extremely self-conscious, though.
In other words, Google Docs works as a LifeStream for writers, with chat. Basically, you can watch a writer write as he writes, and if you want to ask a question or say something, you can. Writers can collaborate on a single piece at one time if the host gives the other person permission to edit the document. Or, two people can examine a document together and critique it. All that's necessary is that the writer either make his documents public, or that he distributes the URL of his Docs session to those that he wants to sit in.
Of course, with the LiveStream application, it's bad because it could be distracting to the writer, but a bit of discretion on the part of both writer and viewers can prevent it from getting too bad. And if all else fails, you can just disable the chat.
So far, it's helped me, at least. I always think I am ridiculously slow at writing, but I recently viewed a session of an author whose works I don't care for too much, but whom I respect a good bit. He's met with some success, and he writes at about the same pace that I do, so that makes me feel a bit better.
Interesting ideas. Maybe I'll try it out one day. I doubt anyone's too interested in seeing me write, but if there's ever much of a demand for it, I wouldn't mind. I'd be extremely self-conscious, though.
7/26/10
"Six" chapter up
So, the latest chapter of "Six" is up. The bad is that I must now place the story on suspension, but I'm hoping that won't last too long.
The good is that I like this most recent chapter quite a bit. There were one or two things I was unsure about, like the appropriateness of the pseudo-pun in the middle (if you read it, you know what I'm referring to), but overall I'd say it's the best chapter I've posted on FFN. (Of course, that's not saying too much, but hey.)
I've had a lot of ranty posts about writing I've been meaning to do, but I'll save those for another time. For now, I have to go provide slave labor for band camp.
The good is that I like this most recent chapter quite a bit. There were one or two things I was unsure about, like the appropriateness of the pseudo-pun in the middle (if you read it, you know what I'm referring to), but overall I'd say it's the best chapter I've posted on FFN. (Of course, that's not saying too much, but hey.)
I've had a lot of ranty posts about writing I've been meaning to do, but I'll save those for another time. For now, I have to go provide slave labor for band camp.
7/25/10
Difficulties
So, I've been stuck in the same place for the past few days with "Six." The trouble isn't that I don't know what to write; it's that I don't know how to sequence things for the best possible read.
I've written and deleted a few scenes, but that's fine. Right now I'm trying to figure out where things need to go, and though this isn't the funnest part of writing, it's definitely worth it.
I've written and deleted a few scenes, but that's fine. Right now I'm trying to figure out where things need to go, and though this isn't the funnest part of writing, it's definitely worth it.
7/21/10
Progress
So, I finally have a decent handle on the face, and I'm back to working on "Six." This next chapter's going to be a pretty fun one to post.
I've also been doing a bit of thinking about some of my other stories, and I still want to write a oneshot to get my mind out of Six-loops. We'll find out where all this goes, eventually.
I've also been doing a bit of thinking about some of my other stories, and I still want to write a oneshot to get my mind out of Six-loops. We'll find out where all this goes, eventually.
7/14/10
A Podcast on Editing!
So, today I got a pleasant surprise. While I wasn't looking, the Unsheathed podcast put out an episode on editing.
For those of you who don't know (probably a lot), Unsheathed is a furry-themed writing podcast recorded by Kyell Gold and K.M. Hirosaki. They are both amazing writers, and Gold has won more Ursa Major awards than anyone else to date and has received all kinds of awards outside of the fandom.
They've done shows on editing before, but what they do in this one is a bit more in-depth: they and a guest spend about an hour discussing revisions for a small selection of prose sent in by one of the viewers:
If you're interested, check out Unsheathed #45. I was going to post a link here, but decided against it.
A word of caution: I would not recommend the show for everyone. There's a bit of humor, but most of it is a serious discussion about writing and storytelling; if you're interested in writing and learning to write better, it will be of great help. There's also a bit of innuendo, but if you read my "Bed of Lies" and lived, you'll have no problems. (Though note that the podcast is technically rated explicit.)
And yes. If you want to be a good, successful writer, you will have to do exactly what these guys do. No exceptions. I've learned from experience that writing a draft is mostly easy; it's turning it into a story that's difficult.
For those of you who don't know (probably a lot), Unsheathed is a furry-themed writing podcast recorded by Kyell Gold and K.M. Hirosaki. They are both amazing writers, and Gold has won more Ursa Major awards than anyone else to date and has received all kinds of awards outside of the fandom.
They've done shows on editing before, but what they do in this one is a bit more in-depth: they and a guest spend about an hour discussing revisions for a small selection of prose sent in by one of the viewers:
People from outside the tribelands feared its sharp angles and perilous heights, deadly jungles with creatures only whispered about since prehistoric times, and endless plains with not a drop of exposed water to be fond. They avoided it like a black mark on the maps, merchants and traders making half-a-thousand mile detours around its perimeter. At least one civilization, near the northern rim, had made a practice of banishing unwanteds into the tribelands, with three days worth of food and water, a knife, and their wits to accompany them.
People from inside the tribelands feared the outside world as desperately as the foreigners feared the tribes. Layered in generations of ritual and ceremony, their terror of the outside world was enshrined in their beads and feathers and the dances they danced around the fires at night, like the one that looked like a chicken but was supposed to be an eagle. They worshipped everything within their microcosm of the world just as fervently as they didn't worship anything from the outside. At least one tribe, who lived along the northern face of the labyrinth, thought that the sun and moon shone only on the Tribelands, and every once in a while, a poor, untutored soul would wander in from the outside, with three days worth of food and water, a knife, and a dazzled look on their face like they were seeing the sun and moon for the first time. The tribe would take them in, nurture them, teach them the stories of father sun and daughter moon, then free their soul to fly with the stars (who also shone only on the Tribelands) by throwing them bodily from the top of a special plateau.
If the outside world and inside tribes ever bothered to meet, they would agree on only one thing, and that would be that they should never meet again.
If you're interested, check out Unsheathed #45. I was going to post a link here, but decided against it.
A word of caution: I would not recommend the show for everyone. There's a bit of humor, but most of it is a serious discussion about writing and storytelling; if you're interested in writing and learning to write better, it will be of great help. There's also a bit of innuendo, but if you read my "Bed of Lies" and lived, you'll have no problems. (Though note that the podcast is technically rated explicit.)
And yes. If you want to be a good, successful writer, you will have to do exactly what these guys do. No exceptions. I've learned from experience that writing a draft is mostly easy; it's turning it into a story that's difficult.
7/9/10
Been doing a lot of nothing
So, uh.
The last few weeks or so I've spent mainly reading and doing trumpet stuff, though I did write 5000 words in the span of two days, once.
I'm a bit worried at this point, because I'm seriously doubting my ability to finish "Six" before I leave for school. But if I don't--and I doubt I will at this point--then we'll just take things as they go.
The last few weeks or so I've spent mainly reading and doing trumpet stuff, though I did write 5000 words in the span of two days, once.
I'm a bit worried at this point, because I'm seriously doubting my ability to finish "Six" before I leave for school. But if I don't--and I doubt I will at this point--then we'll just take things as they go.
6/18/10
On resonance and editing
Sometimes, writers get ideas for stories that happen to be very powerful. I've finished up with that pseudo-commission thing I was doing earlier, and now I'm sidling back and forth between what I should be doing (that is, not writing), writing/editing parts of "Six," and doing work on an original piece (not "Something") that I've worked on on and off for the past few months.
That original piece, I think, has a very strong story to it. It's something that I find myself thinking on often, and I keep replaying different ways to resolve the conflicts over and over in my head. It's a story that has become dear to me, and the lessons I've learned so far from writing it will stick with me forever, both in life and in pen. I'm hoping the same will be true for readers, when I eventually do post it somewhere.
That kind of story strength is often difficult to find. It comes not necessarily from the writing itself, but from the character arc the protagonist follows. It's something called "resonance;" a strong thematic strength that makes a story endearing to its readers, and often somewhat difficult to forget. "Resonance" is what gives books like The Catcher in the Rye, Cloud Atlas, and Greg Howell's Light on Shattered Water their power.
I've started editing on certain parts of that story, and I'm at the stage where I start to think, "Oh noes, this are bads," and, "Who'll ever want to read this?" That's a funny thing that tends to happen a lot once you get to the editing stage. But especially in times like these, when you know you have a good story, you just have to sit back and believe in the power of the story. It'll come out eventually, but only if you let it.
Similarly, I've spent hours and hours behind a screen composing and trying to get the synthesized results to sound musical. At first, a composition always sounds fake and bad, but if you play with it enough--and it really is just playing with it, because you have to learn something new as you go each time--it'll eventually become music. That's the exact same kind of thing that happens with writing.
tl;dr: good stories are good. Do not lose faith in good stories; sieze upon the opportunity when you are blessed with one.
That original piece, I think, has a very strong story to it. It's something that I find myself thinking on often, and I keep replaying different ways to resolve the conflicts over and over in my head. It's a story that has become dear to me, and the lessons I've learned so far from writing it will stick with me forever, both in life and in pen. I'm hoping the same will be true for readers, when I eventually do post it somewhere.
That kind of story strength is often difficult to find. It comes not necessarily from the writing itself, but from the character arc the protagonist follows. It's something called "resonance;" a strong thematic strength that makes a story endearing to its readers, and often somewhat difficult to forget. "Resonance" is what gives books like The Catcher in the Rye, Cloud Atlas, and Greg Howell's Light on Shattered Water their power.
I've started editing on certain parts of that story, and I'm at the stage where I start to think, "Oh noes, this are bads," and, "Who'll ever want to read this?" That's a funny thing that tends to happen a lot once you get to the editing stage. But especially in times like these, when you know you have a good story, you just have to sit back and believe in the power of the story. It'll come out eventually, but only if you let it.
Similarly, I've spent hours and hours behind a screen composing and trying to get the synthesized results to sound musical. At first, a composition always sounds fake and bad, but if you play with it enough--and it really is just playing with it, because you have to learn something new as you go each time--it'll eventually become music. That's the exact same kind of thing that happens with writing.
tl;dr: good stories are good. Do not lose faith in good stories; sieze upon the opportunity when you are blessed with one.
6/11/10
Change of plans
So, uh. Something has come up that I need to address as soon as possible, and I can only do it over the summer. Won't bore anyone with the details, but--expect me to a be a bit slack in the writing department while I try to get the other arts under control.
6/7/10
Aftermath
So. The surgery went well. Other than an IV and some stabbity-wounds (including one from a painful missed IV), I'm better than I have been in a long time.
Now, off to writing words...
Now, off to writing words...
6/5/10
Nifty Post (or lack thereof)
So, I never wrote said nifty posts (family visit'd). Instead, I have a status update. Sorta.
Just a heads-up on what I'm doing right now: over the next week or so, I intend to go through some of my older stuff and fix it up, maybe post some stuff that I haven't posted before. (None of the typical stuff, though.) I'm also writing a gift piece that I won't be putting up anywhere (unless the recipient chooses to do so).
With all that, and the ablation coming up Monday (almost tomorrow, at this time), I don't think I'll have much time in the next week with which to write more "Six." Go figure.
Oh, well. This will probably be the last post before I go in for the procedure. Results will probably be up... uh, whenever. lololol
Just a heads-up on what I'm doing right now: over the next week or so, I intend to go through some of my older stuff and fix it up, maybe post some stuff that I haven't posted before. (None of the typical stuff, though.) I'm also writing a gift piece that I won't be putting up anywhere (unless the recipient chooses to do so).
With all that, and the ablation coming up Monday (almost tomorrow, at this time), I don't think I'll have much time in the next week with which to write more "Six." Go figure.
Oh, well. This will probably be the last post before I go in for the procedure. Results will probably be up... uh, whenever. lololol
6/4/10
Six'd
I post'd the next chapter of "Six" over on FFN, for anyone who's interested.
Hopefully tomorrow I'll have time to write some nifty posts.
Hopefully tomorrow I'll have time to write some nifty posts.
6/3/10
Editing
So, right now I'm going through chapters of "Six" and of some other stuff I've written and trying to tidy them up for publication. I'm noticing that a lot of the stuff I thought I did well, I actually did horrible; and some of the stuff I was afraid would be bad is actually decent.
The point is: nothing is ever going to be as you think it is as you are writing it. No matter how good you are or how much experience you have, you're always going to be surprised when you go back and read through what you've written. Most of the time, the words on the page are not exactly what you'd intended to say, and you have to fix that as you go back through and read.
But that's not all editing is. Sometimes, the story, not the words, doesn't go in the right direction. Sometimes you realize that you're trying to intrude on it, force it to go where you want it to (I'm as guilty of that as anyone else). That's when editing gets hard, because you have to use your discretion to decide what needs changing.
I'm at a point in "Six" right now that I have some major plot decisions coming up, and I'm not really sure how to tackle them. Sure, I've tackled them roughly; but I can do better, and I know that the story, as it is, is not heading in a good direction. That means I'm going to be spending a good bit of time editing these next chapters to get it on track--that means getting rid of some of the stuff I'd originally felt was necessary and modifying some pretty important plot points to make the story stronger.
(Note: this is not butchering the story to make it read better to the fandom. This is undoing the butchering I've already done and returning the story to the state it should be. You have to learn the difference.)
With each scene I introduce in these next chapters, I focus on tension. The problem is that the story has enough tension as it is.
When you're writing, especially with drama and suspense, you need to ask yourself constantly, "What will make the readers want to turn the page?" (I think that's something that just about every writer has to be aware of in order to be a success.) But you also need to ask yourself, "Where is this story going?"
Right now, I have the suspense and drama building to a boiling point. What I don't have is a direction, and my task in editing for these next few days is to find it.
(For the record, I have to do things like this regularly. Nothing that I or anyone else writes will ever automatically turn to gold; writing is about work ethic as much as it is about talent.)
In music, everything one plays needs to lead somewhere, else it's just a bunch of noise. It can be good noise, but it won't be music. The same can be said with writing. Focus on fundamentals and readability all you want, but without a clear character arc (or something to follow), it is not a story.
rantrantrant
The point is: nothing is ever going to be as you think it is as you are writing it. No matter how good you are or how much experience you have, you're always going to be surprised when you go back and read through what you've written. Most of the time, the words on the page are not exactly what you'd intended to say, and you have to fix that as you go back through and read.
But that's not all editing is. Sometimes, the story, not the words, doesn't go in the right direction. Sometimes you realize that you're trying to intrude on it, force it to go where you want it to (I'm as guilty of that as anyone else). That's when editing gets hard, because you have to use your discretion to decide what needs changing.
I'm at a point in "Six" right now that I have some major plot decisions coming up, and I'm not really sure how to tackle them. Sure, I've tackled them roughly; but I can do better, and I know that the story, as it is, is not heading in a good direction. That means I'm going to be spending a good bit of time editing these next chapters to get it on track--that means getting rid of some of the stuff I'd originally felt was necessary and modifying some pretty important plot points to make the story stronger.
(Note: this is not butchering the story to make it read better to the fandom. This is undoing the butchering I've already done and returning the story to the state it should be. You have to learn the difference.)
With each scene I introduce in these next chapters, I focus on tension. The problem is that the story has enough tension as it is.
When you're writing, especially with drama and suspense, you need to ask yourself constantly, "What will make the readers want to turn the page?" (I think that's something that just about every writer has to be aware of in order to be a success.) But you also need to ask yourself, "Where is this story going?"
Right now, I have the suspense and drama building to a boiling point. What I don't have is a direction, and my task in editing for these next few days is to find it.
(For the record, I have to do things like this regularly. Nothing that I or anyone else writes will ever automatically turn to gold; writing is about work ethic as much as it is about talent.)
In music, everything one plays needs to lead somewhere, else it's just a bunch of noise. It can be good noise, but it won't be music. The same can be said with writing. Focus on fundamentals and readability all you want, but without a clear character arc (or something to follow), it is not a story.
rantrantrant
5/31/10
Whoa, a month with only two posts
...but really, it has been a busyish month for me, despite school wrapping up and everything.
So, since I have a lot of stuff to say, I'll just lollist:
1.) The next chapter of "Six" will be up either tomorrow or Friday, depending on some lifey stuff that I'll find out about tomorrow.
2.) Robindf1 and I have a little surprise we might be unveiling soon. Well, more accurately, I have a surprise that was Robin's idea. Dunno when we'll be unveiling it, but it won't be too long from now, I don't think
3.) I am having quasi–heart surgery the monday after next. It's not anything too major--just a catheter ablation, and it has a 96.5% success rate--but it's not exactly comforting. Wish me luck!
4.) I'm going to attend a residential school of the arts next year for music. So, uh, I may be retiring from fanfiction later this year. Or after "Six" is done with, at least, and maybe The Ambassador. We'll see.
5.) You should all go stalk nordguard.blogspot.com. Gogo Blotch girls!
So, since I have a lot of stuff to say, I'll just lollist:
1.) The next chapter of "Six" will be up either tomorrow or Friday, depending on some lifey stuff that I'll find out about tomorrow.
2.) Robindf1 and I have a little surprise we might be unveiling soon. Well, more accurately, I have a surprise that was Robin's idea. Dunno when we'll be unveiling it, but it won't be too long from now, I don't think
3.) I am having quasi–heart surgery the monday after next. It's not anything too major--just a catheter ablation, and it has a 96.5% success rate--but it's not exactly comforting. Wish me luck!
4.) I'm going to attend a residential school of the arts next year for music. So, uh, I may be retiring from fanfiction later this year. Or after "Six" is done with, at least, and maybe The Ambassador. We'll see.
5.) You should all go stalk nordguard.blogspot.com. Gogo Blotch girls!
5/12/10
Back with an update
Sorry I had to disappear off the face of the planet for a while, but eh, like some lulzy post from chaos Leader, (sh)it happens.
Most of said stuff is done with now, and I have loads of free time that I have no clue how to manage. So, hopefully that'll mean moarwriting.
I posted the next chapter of "Six"--it has a few typically not-my-style elements in it, and nothing really happens, but eh, it's a necessary evil. (Or so I think.)
As always, drop me a line to let me know what you think. Hoping these updates will be coming a bit more frequently, but eh, it's been a month or so since I've set fingers to keys in OOo, so we'll see how that works out.
Most of said stuff is done with now, and I have loads of free time that I have no clue how to manage. So, hopefully that'll mean moarwriting.
I posted the next chapter of "Six"--it has a few typically not-my-style elements in it, and nothing really happens, but eh, it's a necessary evil. (Or so I think.)
As always, drop me a line to let me know what you think. Hoping these updates will be coming a bit more frequently, but eh, it's been a month or so since I've set fingers to keys in OOo, so we'll see how that works out.
4/26/10
Busy
Just a heads up: in light of a few things that have been going on in The Real World (and my jumping back and forth between "Six" and a few other things), I anticipate progress on my fics to be slow for the next week or two.
4/21/10
Update and advice
A quick update on my progress with "Six:" I have two and a half chapters completed ahead of schedule as of right now--but they're tentative, at best. I'm going to be doing some weird stuff in the next few chapters, so I'll have to see where it takes me before I'll feel comfortable posting any of it.
Because I am lazy and still haven't finished the stuff I'd planned to post on here (characterization, diction, scene decisions, etc.), I'm going to cop out and pull up a David Marnet article KG linked one day on his LJ. (Which is a bonus because I don't know what I'm talking about half the time, anyway; professional advice trumps anything I could say.) See it here.
It's an article from a screenwriter's perspective on how to write drama. Though not everything in it directly applies to writing, most of it does, and the understanding of several of Marnet's points are essential for good writing.
Along with said posting on LJ came these notes, which I feel obligated to reproduce because they also touch on some issues I hear about fairly often in this fandom:
Happy writing! Hopefully the update to six might maybe possibly perhaps be finished sometime within the next year. Or two weeks.
Because I am lazy and still haven't finished the stuff I'd planned to post on here (characterization, diction, scene decisions, etc.), I'm going to cop out and pull up a David Marnet article KG linked one day on his LJ. (Which is a bonus because I don't know what I'm talking about half the time, anyway; professional advice trumps anything I could say.) See it here.
It's an article from a screenwriter's perspective on how to write drama. Though not everything in it directly applies to writing, most of it does, and the understanding of several of Marnet's points are essential for good writing.
Along with said posting on LJ came these notes, which I feel obligated to reproduce because they also touch on some issues I hear about fairly often in this fandom:
My favorite excerpts (but you really need to read the whole thing):
QUESTION:WHAT IS DRAMA? DRAMA, AGAIN, IS THE QUEST OF THE HERO TO OVERCOME THOSE THINGS WHICH PREVENT HIM FROM ACHIEVING A SPECIFIC, ACUTE GOAL.
SO: WE, THE WRITERS, MUST ASK OURSELVES OF EVERY SCENE THESE THREE QUESTIONS.
1) WHO WANTS WHAT?
2) WHAT HAPPENS IF HER DON’T GET IT?
3) WHY NOW?
and
HERE ARE THE DANGER SIGNALS. ANY TIME TWO CHARACTERS ARE TALKING ABOUT A THIRD, THE SCENE IS A CROCK OF SHIT.
ANY TIME ANY CHARACTER IS SAYING TO ANOTHER “AS YOU KNOW”, THAT IS, TELLING ANOTHER CHARACTER WHAT YOU, THE WRITER, NEED THE AUDIENCE TO KNOW, THE SCENE IS A CROCK OF SHIT.
DO NOT WRITE A CROCK OF SHIT.
YMMV, as always, but you could do a lot worse than keep the above in mind when trying to write something dramatic. For novels, the standards are a bit looser--you don't *want* every scene to be FULL OF DRAMA. You need to pace it out, build tension, and so on. I also think you can stretch the "two characters talking about a third" when the third is a dramatic figure--think about Al Capone in "The Untouchables." One of the most memorable scenes is Sean Connery telling Kevin Costner in the church "that's how you get Al Capone."
But if you're worried that your story is too flat, not gripping enough in the places where it should be, well, go back and re-read those rules. It's also possible to have a lot of STUFF happening in an action scene and still have it be boring because while it is active, there is no drama. Again, check the points above. What does the character want? What's stopping him/her from getting it?
Happy writing! Hopefully the update to six might maybe possibly perhaps be finished sometime within the next year. Or two weeks.
4/16/10
"The Ambassador" Preview
In light of a few asking about The Ambassador, I've posted the first chapter up on the stories blog. Find it at:
http://jaslazulstories.blogspot.com/2010/04/ambassador-preview.html
This is turning out to be a deep story, even though it started as something half-comedic. It's a thematic story with lots of allusions and careful diction to hint at its message. It is not a romance story, though it might have a few romantic subplots (with whom, I do not yet know; each person I've shown it to sees it spiraling in a different direction). It's pseudo-fanfiction, meaning that it's set in Lylat, playing heavily upon settings like Corneria and upon game events like the Command ending that ends in the settlement of Venom. All the characters, though, are my own.
My biggest issues right now are at the beginning and at my current point, trying to figure out what to do next. There are different ways I could take this story, all of which lending it different themes and plots.
In other words: tell me what you'd like to see, even if it's something silly. Or just say what you think about it--you guys have no idea how much just hearing an opinion sometimes can influence the path of a story. And if you're really good, you can suggest stuff for the beginning (the one that I don't like very much)!
Anyway--in the words of Guardian1: enjoy yourself; I know I do.
http://jaslazulstories.blogspot.com/2010/04/ambassador-preview.html
This is turning out to be a deep story, even though it started as something half-comedic. It's a thematic story with lots of allusions and careful diction to hint at its message. It is not a romance story, though it might have a few romantic subplots (with whom, I do not yet know; each person I've shown it to sees it spiraling in a different direction). It's pseudo-fanfiction, meaning that it's set in Lylat, playing heavily upon settings like Corneria and upon game events like the Command ending that ends in the settlement of Venom. All the characters, though, are my own.
My biggest issues right now are at the beginning and at my current point, trying to figure out what to do next. There are different ways I could take this story, all of which lending it different themes and plots.
In other words: tell me what you'd like to see, even if it's something silly. Or just say what you think about it--you guys have no idea how much just hearing an opinion sometimes can influence the path of a story. And if you're really good, you can suggest stuff for the beginning (the one that I don't like very much)!
Anyway--in the words of Guardian1: enjoy yourself; I know I do.
4/11/10
Six update
So, uh. Next chapter of "Six" is up. Sorry it took so long, but I took most of this last week off for personal reasons. I'll also be taking most of this next week off for business reasons, so don't expect another update for at least another week or two.
In other news, I've been contemplating writing a short FFIX oneshot/twoshot. I'm going to start it tonight, but who knows? Maybe it'll end up as another thing that never gets in shape or fully written. (I certainly won't finish it tonight, and like I said earlier, this next week will be murderous for me.)
In other news, I've been contemplating writing a short FFIX oneshot/twoshot. I'm going to start it tonight, but who knows? Maybe it'll end up as another thing that never gets in shape or fully written. (I certainly won't finish it tonight, and like I said earlier, this next week will be murderous for me.)
3/28/10
Six and Appearance
So, turns out I got up the latest chapter up six after all. It's kinda shortish, but oh well. Now, on to the appearance thing.
When creating a character, a common fault is to create the Cool Look you think the character should have. You like those tight, holey jeans, so give him some tight, holey jeans. You like orange, so give him an orange shirt. You like Pokémon, so give him a Pokémon-flavored shirt. An orange, Pokémon-flavored shirt. When designing the appearance of a character or a room, you have to aware of what your appearance is saying about your character, because whether you (or they) realize it or not, people are going to analyze the crap out of your character's appearance.
Consider those jeans: they're common now among the goth/emo crowd. Does your character identify with that particular group? Consider the shirt: is your character a gamer or a card-collector, or is the shirt a hand-me-down from a sibling who was one of those?
One of the best examples of characterization by appearance I've seen is from Eudora Welty's "A Worn Path."
There are some great details in here that you'll process without even realizing you're doing so. For example, consider her umbrella cane and sack dress. Is she poor and unable to afford a real cane or dress? She must also be resourceful to think of using those common items as utilities. There's also the rag in her hair (implying that she's too poor to have her hair done), the blue eyes (cataracts), the tree in her forehead (symbol of strength), and the golden color ("Phoenix" Jackson).
Writing like Welty is something that I believe is neither desirable nor necessary (not that she's a bad writer), especially in fan fiction, but this short passage has lessons from which almost anyone could benefit. To drastically improve your description, just remember this: when working with appearance, do not put in what you think is Cool; put in what will help to create the character the story needs.
(That's something I always come back to, it seems; the story always is and always will be more important than anything from the author's preference.)
* Also see my description mini-tutorial on Apocrypha, which has a short section on this.
When creating a character, a common fault is to create the Cool Look you think the character should have. You like those tight, holey jeans, so give him some tight, holey jeans. You like orange, so give him an orange shirt. You like Pokémon, so give him a Pokémon-flavored shirt. An orange, Pokémon-flavored shirt. When designing the appearance of a character or a room, you have to aware of what your appearance is saying about your character, because whether you (or they) realize it or not, people are going to analyze the crap out of your character's appearance.
Consider those jeans: they're common now among the goth/emo crowd. Does your character identify with that particular group? Consider the shirt: is your character a gamer or a card-collector, or is the shirt a hand-me-down from a sibling who was one of those?
One of the best examples of characterization by appearance I've seen is from Eudora Welty's "A Worn Path."
It was December—a bright frozen day in the early morning. Far out in the country there was an old Negro woman with her head tied in a red rag, coming along a path through the pinewoods. Her name was Phoenix Jackson. She was very old and small and she walked slowly in the dark pine shadows, moving a little from side to side in her steps, with the balanced heaviness and lightness of a pendulum in a grandfather clock. She carried a thin, small cane made from an umbrella, and with this she kept tapping the frozen earth in front of her. This made a grave and persistent noise in the still air that seemed meditative, like the chirping of a solitary little bird.
She wore a dark striped dress reaching down to her shoe tops, and an equally long apron of bleached sugar sacks, with a full pocket: all neat and tidy, but every time she took a step she might have fallen over her shoelaces, which dragged from her unlaced shoes. She looked straight ahead. Her eyes were blue with age. Her skin had a pattern all its own of numberless branching wrinkles and as though a whole little tree stood in the middle of her forehead, but a golden color ran underneath, and the two knobs of her cheeks were illumined by a yellow burning under the dark. Under the red rag her hair came down on her neck in the frailest of ringlets, still black, and with an odor like copper.
There are some great details in here that you'll process without even realizing you're doing so. For example, consider her umbrella cane and sack dress. Is she poor and unable to afford a real cane or dress? She must also be resourceful to think of using those common items as utilities. There's also the rag in her hair (implying that she's too poor to have her hair done), the blue eyes (cataracts), the tree in her forehead (symbol of strength), and the golden color ("Phoenix" Jackson).
Writing like Welty is something that I believe is neither desirable nor necessary (not that she's a bad writer), especially in fan fiction, but this short passage has lessons from which almost anyone could benefit. To drastically improve your description, just remember this: when working with appearance, do not put in what you think is Cool; put in what will help to create the character the story needs.
(That's something I always come back to, it seems; the story always is and always will be more important than anything from the author's preference.)
* Also see my description mini-tutorial on Apocrypha, which has a short section on this.
3/23/10
sloooooooooooow
Uh. So, I haven't opened and modified any story documents in, like, a week. i so slo! I feel kinda bad about it, but at the same time it's unavoidable (mainly because of medical reasons and school stuff this time). I had a nifty little electroshock cardiac-pacing test today (terrible procedure!), in order for the doctors to tell me what I already pretty much knew--that I have a slightly deformed heart with an extra electrical pathway. So, I'll be going in for an ablation in a few months and that'll hopefully be the end of that.
The end of this weak (and more the next week) will give me a good bit of time off to work on the stories. Man, I have too many of them to tell.
* I can't say for sure, but I'm expecting the next chapter of "Six" to come out this weekend.
Amendment: that didn't happen. We'll see where I end up by the end of the week.
The end of this weak (and more the next week) will give me a good bit of time off to work on the stories. Man, I have too many of them to tell.
* I can't say for sure, but I'm expecting the next chapter of "Six" to come out this weekend.
Amendment: that didn't happen. We'll see where I end up by the end of the week.
3/21/10
Writing: disconnection
One of my biggest turn-offs when reading a story is seeing the author pop out at me, meaning that if I know the writer personally or read his profile (less so on that, though), the language there is the same as in the stories.
Stephen King's On Writing has a big section on how you should write--meaning what environment you should be in. Should you have a giant desk? Use pen and paper? Dark or light? Door open or closed? He addresses all of these topics (leaving most of them to the writer's discretion), but one of the things he asserts is that you must never come to the blank page lightly.
When I read a story where it feels like A Person and not An Author is telling the story, I feel like That Person has come to the blank page lightly.
I read Cloud Atlas recently, and one of the most amazing parts of the book was seeing the drastic shifts in style. The book uses six short stories (mirrored; it's complicated) all from different time periods (1800s to the post-apocalyptic future), and each one has a distinct, perfectly-crafted style. The first is a Brontë-esque journal, followed by a fiery series of narrative letters, a tight-knit manuscript for a suspense novel, a memoir of an arrogant publisher, an interview with a clone, and a story by an uneducated man. Following is an example passage from each different section of the novel.
I cannot distinguish a single trace of David Mitchell in any of this. Each one of these different styles is crafted to suit the story it's trying to tell--in fact, it's almost like there are six David Mitchells, each writing his own part of it. I can definitely tell that, however many of them there are, he did not come to the page lightly. When I read this story, instead of thinking, "This author is trying to tell me a story," I just see a story. That's the way any writing should be, and if you can do it that well (among other things), you're bound for success.
tl;dr: You cannot write the way you want to write. You must write the way the story tells you to write.
Stephen King's On Writing has a big section on how you should write--meaning what environment you should be in. Should you have a giant desk? Use pen and paper? Dark or light? Door open or closed? He addresses all of these topics (leaving most of them to the writer's discretion), but one of the things he asserts is that you must never come to the blank page lightly.
When I read a story where it feels like A Person and not An Author is telling the story, I feel like That Person has come to the blank page lightly.
I read Cloud Atlas recently, and one of the most amazing parts of the book was seeing the drastic shifts in style. The book uses six short stories (mirrored; it's complicated) all from different time periods (1800s to the post-apocalyptic future), and each one has a distinct, perfectly-crafted style. The first is a Brontë-esque journal, followed by a fiery series of narrative letters, a tight-knit manuscript for a suspense novel, a memoir of an arrogant publisher, an interview with a clone, and a story by an uneducated man. Following is an example passage from each different section of the novel.
After the service, the doctor & I were approached most cordially by an elder "mainmast' of that chapel, one Mr. Evans, who introduced Henry & me to his good wife (both circumvented the handicap of deafness by answering only those questions they believed had been asked & accepting only those questions they believed had been uttered--a strategem embraced by many an American advocate) & their twin sons, Keegan & Dyfedd.
Couldn't say if Ayrs felt humor, pity, nostalgia, or scorn. He left. Locked the door and climbed into bed for the third time that night. Bedroom farce, when it actually happens, is intensely sad. Jocasta seemed angry with me.
"Before I left Swannekke, I gave Garcia a present to give to you, just a dolce far niente." He tries to make the sentence sound casual.
What in God's name is he talking about?
"You hear me, Luisa? Garcia has a present for you."
A more alert quarter of Luisa's brain muscles in. Isaac Sachs left the Sixsmith Report in your VW. You mentioned the trunk didn't lock. He assumes we are being eavesdropped. "That's very kind of you, Isaac. Hope it didn't cost you too much."
A trio of teenettes, dressed like Prostitue Barbie, approached, drift-netting the width of the pavement. I stepped into the road to avoid collision. But as we drew level they tore wrappers off their lurid ice lollies and just dropped them. My sense of well-being was utterly V-2'd. I mean, we were level with a bin! Tim Cavendish the Disgusted Citizen exclaimed to the offenders: "You know, you should pick those up."
You have no rests?
Only purebloods are entitled to "rests," Archivist. For fabricants, "rests" would be an act of time theft. Until curfew at hour zero, every minute must be devoted to the service and enrichment of Papa Song.
Now you people're lookin' at a wrinkly buggah, mukelung's nibblin' my breath away, an' I won't be seein' many more winters out, nay, nay, I know it. I'm shoutin' back more'n forty long years at myself, yay, at Zachry the Niner, Oy, list'n! Times are you're weak 'gainst the world! Times are you can't do nothin'! That ain't your fault, it's this busted world's fault is all! But no matter how loud I shout, Boy Zachry, he don't hear me nor never will.
I cannot distinguish a single trace of David Mitchell in any of this. Each one of these different styles is crafted to suit the story it's trying to tell--in fact, it's almost like there are six David Mitchells, each writing his own part of it. I can definitely tell that, however many of them there are, he did not come to the page lightly. When I read this story, instead of thinking, "This author is trying to tell me a story," I just see a story. That's the way any writing should be, and if you can do it that well (among other things), you're bound for success.
tl;dr: You cannot write the way you want to write. You must write the way the story tells you to write.
3/15/10
3/14/10
"Six" and Romance
Quick update on "Six:" I just got back from the all-state clinic, and as soon as I get a handle on schoolwork, I'll update. I'll hopefully have it up soon.
Now, on to romance. This is something that's been floating around in my head for quite a bit now and has been growing as I write "Six" and a few original projects.
When dealing with romance, especially not-so-good romance, it's usually pretty simple to identify the problem: everything is perfect and happy and fluffy and everyone wants character Q to get it on with character G. Que pitfall #1--no conflict.
There's also another category of ehh romance that people are less apt to recognize. Some writers take Stories Need Conflict a bit too seriously and end up with a romantic relationship that leaves the reader asking, "Why are these two even together?" Que pitfall #2--no romance. (Having two characters kiss or sleep together does not constitute romance.)
Before moving on to my next point, I want to repeat something that I've heard countless times before: "Writing is a balance." The keen-eyed will notice that the two common pitfalls of romance, like most pitfalls in writing, are opposites. You have to find the blend that works best for your story, and no writing guide on the planet can tell you what that is.
My third point is a bit more obscure and personal. When you write something, you should write it for a reason. If you're writing a romance to get two characters together, chances are that you are writing for the wrong reason.
A trip to any local bookstore or fiction 'site reveals hundreds of stories of people getting together; in order to stand out, you have to write about something more. If you don't, your work will never surpass mediocracy. When I write, I write about how a romantic relationship changes the characters based on their life situations. I'm not saying everyone has to do that, but there should be some value to every romantic piece beyond romance, in the same way that an action piece is never only about who stabs whom. The romance should be there, and it had better be good, but if you want to succeed, it can't be the be-all end-all of your fic.
For example, the romantic subplot in Echoes is about how romance can get in the way of greater things and how Fox's attitude towards it changes throughout the story. In Redemption, it's a story about Wolf's internal conflict. In "Bed of Lies," it's about the chaos and tension it can unleash.
I had this discussion with someone a while back and figure I'd share it: with all my Star Fox fics, I usually end up writing about Fox and Wolf in some way, but the stories are never the same. Each story is a different story, a new take on a different situation. They all share the same basic romantic subplot (though Redemption is by far the most in-depth and ill-executed, falling into Pitfall Number Two), but their different foci allow for the development of much different stories.
Now, on to romance. This is something that's been floating around in my head for quite a bit now and has been growing as I write "Six" and a few original projects.
When dealing with romance, especially not-so-good romance, it's usually pretty simple to identify the problem: everything is perfect and happy and fluffy and everyone wants character Q to get it on with character G. Que pitfall #1--no conflict.
There's also another category of ehh romance that people are less apt to recognize. Some writers take Stories Need Conflict a bit too seriously and end up with a romantic relationship that leaves the reader asking, "Why are these two even together?" Que pitfall #2--no romance. (Having two characters kiss or sleep together does not constitute romance.)
Before moving on to my next point, I want to repeat something that I've heard countless times before: "Writing is a balance." The keen-eyed will notice that the two common pitfalls of romance, like most pitfalls in writing, are opposites. You have to find the blend that works best for your story, and no writing guide on the planet can tell you what that is.
My third point is a bit more obscure and personal. When you write something, you should write it for a reason. If you're writing a romance to get two characters together, chances are that you are writing for the wrong reason.
A trip to any local bookstore or fiction 'site reveals hundreds of stories of people getting together; in order to stand out, you have to write about something more. If you don't, your work will never surpass mediocracy. When I write, I write about how a romantic relationship changes the characters based on their life situations. I'm not saying everyone has to do that, but there should be some value to every romantic piece beyond romance, in the same way that an action piece is never only about who stabs whom. The romance should be there, and it had better be good, but if you want to succeed, it can't be the be-all end-all of your fic.
For example, the romantic subplot in Echoes is about how romance can get in the way of greater things and how Fox's attitude towards it changes throughout the story. In Redemption, it's a story about Wolf's internal conflict. In "Bed of Lies," it's about the chaos and tension it can unleash.
I had this discussion with someone a while back and figure I'd share it: with all my Star Fox fics, I usually end up writing about Fox and Wolf in some way, but the stories are never the same. Each story is a different story, a new take on a different situation. They all share the same basic romantic subplot (though Redemption is by far the most in-depth and ill-executed, falling into Pitfall Number Two), but their different foci allow for the development of much different stories.
3/12/10
Contest
So, Fraye and Swiper are sponsoring a oneshot contest over in the Star Fox section. You can find it here:
http://forum.fanfiction.net/topic/71506/23244998/1
Swiper's judging, and since I don't have any entries, I'll probably be on the panel as well (and maybe SerpentPanda too). Hopefully we'll be able to get some good writing out of this.
(And no, this isn't the post I was referring to in my previous post.
http://forum.fanfiction.net/topic/71506/23244998/1
Swiper's judging, and since I don't have any entries, I'll probably be on the panel as well (and maybe SerpentPanda too). Hopefully we'll be able to get some good writing out of this.
(And no, this isn't the post I was referring to in my previous post.
Away
Away from my home location and stuck at a location with Internet that dislikes https protocol; I have a post that I want to make, but am unable to do so right now. It should be up Sunday.
3/8/10
Question
So, as I'm writing "Six" (up to 18k words right now), I'm encountering a few things that I've never had to deal with before, and that leads me to a question that I must ask my readers:
Up until this point, I have mainly been doing progress updates on this journal. I am aware of a few popular writers' journals that also give occasional writing advise and whatnot--would anyone reading this thing be interested if I did some of that? I've posted a few things over on Apocrypha (and am in the process of posting a question over there as I write this), but I've often held out because I didn't think it was worth calling too much attention to myself.
Any opinions?
Up until this point, I have mainly been doing progress updates on this journal. I am aware of a few popular writers' journals that also give occasional writing advise and whatnot--would anyone reading this thing be interested if I did some of that? I've posted a few things over on Apocrypha (and am in the process of posting a question over there as I write this), but I've often held out because I didn't think it was worth calling too much attention to myself.
Any opinions?
2/28/10
"Six" notes
Since I'm going to so many clinics in the upcoming days, I might be holding off on updating "Six" until I'm done.
(Also, the RB clinic left me inspired to write a crapload; hopefully the all-staters will inspire me even more.)
(Also, the RB clinic left me inspired to write a crapload; hopefully the all-staters will inspire me even more.)
2/26/10
Clinic
Posting from my iPod at a hotel--I've arrived at this weekend's clinic site. Excited because clinics are always fun; depressed because I have no computer to write with. ;(
2/24/10
News
For the next three weeks, I'll be going off during the weekends to band clinics, so I won't have much time to write. Considering that most of the school week will probably be spent with make-up work, I'm left with precious little time.
Right now, I'm working on Day Three of "Six." I've been struggling to write this section, mainly because I have so many conflicts that it's difficult to manage them all.
I haven't done much work on The Ambassador recently (because I'm not sure where to go with it), but I plan to go through and thoroughly analyze it one day to determine the direction in which I need to take it.
Anyway, I'm off to try some writing.
Right now, I'm working on Day Three of "Six." I've been struggling to write this section, mainly because I have so many conflicts that it's difficult to manage them all.
I haven't done much work on The Ambassador recently (because I'm not sure where to go with it), but I plan to go through and thoroughly analyze it one day to determine the direction in which I need to take it.
Anyway, I'm off to try some writing.
2/20/10
Notes
If you haven't seen them already, the next two chapters for "Six" are up on FFN. I'll be waiting a bit before posting the next chapter, though, for plot reasons and for I-need-to-write-some-more-of-it reasons. (I'm four chapters ahead, but I'd like to finish most of it first.)
Also, bad news: I have to write a short medieval romance for school. Though I don't really mind doing it, it'll be taking away from some time that I'd originally intended to use for writing parts of "Six."
Also, bad news: I have to write a short medieval romance for school. Though I don't really mind doing it, it'll be taking away from some time that I'd originally intended to use for writing parts of "Six."
2/14/10
Vamlumtimes day!
Happy Vamlumtimes Day!
So, uh, I'd originally planned to have a oneshot to release today, but with school and "Six" and trying to write "Conflict" and a few other projects, I never got around to it. (Though I'll admit, the main reason is 'cause I didn't have any ideas.)
So, uh, sorry 'bout that. Instead, I present a lynx to much lulz.
lulz
So, uh, I'd originally planned to have a oneshot to release today, but with school and "Six" and trying to write "Conflict" and a few other projects, I never got around to it. (Though I'll admit, the main reason is 'cause I didn't have any ideas.)
So, uh, sorry 'bout that. Instead, I present a lynx to much lulz.
lulz
2/6/10
Six to Bereavement
The new fic's up. Go check it out--there are a few things that I've changed, for better or for worse. (I think for worse for the first chapter, but for better for the story as a whole.)
Feeling good
Feeling good about this fic. I might post the first chapter tonight or tomorrow, even though I'm not quite done with the whole thing yet. (Still got like, one scene left to go.)
I've been doing a good bit of modification to the first chapter, so the first chapter over on FFN will turn out to be slightly different than the one here.
I've been doing a good bit of modification to the first chapter, so the first chapter over on FFN will turn out to be slightly different than the one here.
1/31/10
Newish Fox/Wolf in Progress
Well, since I've been at a standstill with some other fics, I've continued that old thing I started a while back. I'd estimate that I'm over halfway done at this point, so you can expect it on FFN soonish.
I've posted a sample of it over on the other blog, if anyone's interested. There may be another short sample of another upcoming fic coming soon.
I've posted a sample of it over on the other blog, if anyone's interested. There may be another short sample of another upcoming fic coming soon.
1/21/10
Update
Sorry it's been a while. I've been mostly busy with a few things on the side, and haven't had much time to devote to fan fiction as of late.
I'm trying to make progress on "Conflict," but it's going at a dreadfully slow rate. I'm working on a few other things, but I don't want to reveal anything about them quite yet. Be on the lookout, but don't expect anything to be coming too soon.
I'm trying to make progress on "Conflict," but it's going at a dreadfully slow rate. I'm working on a few other things, but I don't want to reveal anything about them quite yet. Be on the lookout, but don't expect anything to be coming too soon.
1/8/10
Situation update
So, I have a lot of different things floating around that need to be either posted or edited or have some edits that I've already marked done to them. My schedule's pretty much booked for most of the weekend, though, and I'll have a busy week next week, so I'm not sure when I'll get the chance to get anything up.
I'm also continuing to progress in an original work that I'm writing. No news about it yet, but... well, we'll see.
I'm also continuing to progress in an original work that I'm writing. No news about it yet, but... well, we'll see.
Situation update
So, I have a lot of different things floating around that need to be either posted or edited or have some edits that I've already marked done to them. My schedule's pretty much booked for most of the weekend, though, and I'll have a busy week next week, so I'm not sure when I'll get the chance to get anything up.
I'm also continuing to progress in an original work that I'm writing. No news about it yet, but... well, we'll see.
I'm also continuing to progress in an original work that I'm writing. No news about it yet, but... well, we'll see.
1/6/10
Whoops, delay
So, apparently first week back == time to cram for tests, so I haven't had time to finish up those edits that I've been meaning to do. Hopefully I'll have 'em done before the end of the week, but that depends on how things go tomorrow.
1/4/10
A day of editing
Spent the day editing some stuff for FFN and two shorties for elsewhere. Hoping to have 'em all up soon.
(Written with BlogPress.)
(Written with BlogPress.)
1/3/10
Joys of Writerdom
There's nothing quite like the feeling of rereading something you've written and being pleasantly surprised by it. I reread a short last night that I posted about 3 months ago, and I... really like it. Enough to make me want to have some continuation of it someday when I'm not busy doing 80 other things.
1/1/10
Progress and an FYI
I've written about 6000 words in the last two days, mostly scattered between different projects. I've been trying to take a break from "Conflict," which I can't seem to produce anything workable with at the moment.
Right now, I'm making the decision on continuation on a short story I've began. I've never been very good at that.
Also for those who are curious, the projects that I discuss and you never see are usually posted elsewhere or condemned to rot on my HD. If you're interested in something that seems to have died, just send me a FFN PM and I'll send it over. Don't expect it to be great, though--I always have a reason for holding something back from publication
Right now, I'm making the decision on continuation on a short story I've began. I've never been very good at that.
Also for those who are curious, the projects that I discuss and you never see are usually posted elsewhere or condemned to rot on my HD. If you're interested in something that seems to have died, just send me a FFN PM and I'll send it over. Don't expect it to be great, though--I always have a reason for holding something back from publication
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