Fishing for INSPIRATION?Fishing for INSPIRATION?6 years ago in Writing More Like This
Fishing for INSPIRATION?
Your imagination is a pond that you fish your ideas from. Like any fishing pond, what you catch depends on what you've stocked your pond with and how much you put in there. If you fish for only the occasional idea, your little ideas have time to breed creatively until they overflow the pond, leaping right out into your hand -- and onto your keyboard. If you fish a lot, you will have to restock -- Frequently.
A Dry Pond = Writer's Block
What's in YOUR Imagination?
What do you KNOW?
What do you love to Do, to Study, to Think About, to Talk About...? Make a list of all the things you know well and all the things you've done -- seriously! Mythology, history, any retail jobs you might have had -- anything you might have seen, done, or studied.
WHO do you KNOW?
Have you ever met...?
A real Criminal?
A real Hero?
A real Romantic?
The Art of VILLAINYThe Art of VILLAINY6 years ago in Writing More Like This
The Art of VILLAINY ~ Making Realistic Villains for your Fiction ~
"People will do far more to Avoid Pain than they will to Seek Pleasure."
-- CIA Profiler Gavin DeBecker on Human Nature
When I craft a villain, I go out of my way to make darned sure that my fictional villains are as realistic as the villains we face in real life. I begin by giving them ordinary human Issues.
Within every villain (fictional and non-fictional) there's a human issue at core that drives them to BE villains in the first place. Even mass murderers have reasons (however twisted) for doing what they do.
NO villainous action is RANDOM.
The victim may be randomly chosen, but the action -- no matter how twisted -- always has a reason behind it. That reason is ALWAYS driven by a very human issue triggered by an unfulfilled and essential human need.
Key Human Issues:
* Desire for Connection
10 Second Tip - Foreshadowing10 Second Tip - Foreshadowing5 years ago in Writing More Like This
I hear the term 'foreshadowing' a lot. That's when you hint at stuff to come, right? So yeah, but how do I DO it?
Foreshadowing is when the opening scene of a story is a kind of nutshell prophecy for the whole story.
* In a Horror, this is when the originating Bad Thing happens.
* In a Mystery or Crime story, it's when the first victim is slain, and/or object (McGuffin) goes missing.
* In a Romance this is where the main character meets their soon-to-be lover for a fleeting but memorable moment.
* In a Sci-fi, this is where the ruling Theory is presented.
* In a Gothic, this is where the main character transforms into a monster for the first time.
This also reveals the Premise, or ruling argument that the story is trying to illustrate; what the story is trying to Prove.
The results of Revenge
The path of Ambition
The reality of Love
The sacrifices one mak
Choosing a Companion: A GuideChoosing a CompanionChoosing a Companion: A Guide5 years ago in Writing More Like This
Alright, you've got your hero, your villain, your damsel maybe even a style of transformation and a monster too. Wanna know what comes next? No idea, yet! You should have figured out your companion aaaaaaages ago.
There's very little that's more important than a good companion. Whether it's to lend support or kick them down, no hero can do it alone. Even if they really wish they could.
The Loyal Companion: Most, though not all, companions fall into this overhead. Otherwise, they'd stab them in the back and run the moment they could. (See further down for that.)
This is basically the companion that stands by the hero's side through thick and thin, a Sam for a Frodo. Whether this is because of a deep friendship, a sense of honor, or a secret relationship between the characters is all up to you and your audience's imagination. Frankly, the reason matters less than the character themselves - this is the one you don't wanna mess with. When the Loyal Companion is hurt, t
The Toolbox: 19 Tips and Tropes I Enjoy SeeingThe Toolbox: 19 Tips and Tropes I Enjoy Seeing2 years ago in Writing More Like This
First of all, I freely admit that what I say isn't gospel. I am a total amateur at art and writing. I've learned everything that I know via the internet and a few drawing books. It's just that I appreciate all of the tutorials here on dA that have helped me out, and I want to put a little bit of my own methods back in.
If you’re a regular reader of mine, you might think that I’m an overly negative person. The truth is that I’m really not. It’s so easy to get passionate over things that you dislike that you forget to remember the things that you do like. I don’t make these guides because I think that deviantART is full of bad writers. I make these because I think that deviantART is full of constantly improving writers with limitless potential. But I understand that I can seem a little overly negative at times when I only get on your case for doing things that I don’t like.
This brings me to a new resolution
Advanced Plotting-The PREMISEAdvanced Plotting-The PREMISE5 years ago in Writing More Like This
Advanced Plotting ~ the PREMISE
Could you tell me more on plotting story points? I can get the big story idea well enough, but I run into a snag deciding the whole causality thing -- A leads to B, leads to C, etc."
-- Mad about Plotting
Ah, so you wanna know how to put all the theories together to make a story, do you? (Gee, you couldn't pick the easy stuff could you?) Okay...
A story's Causes & Effects, the triggers that lead from one event to the next, comes from your Premise.
Just for the record...
A Premise is NOT a Concept!
The Premise is the theoretical / emotional problem that your story is trying to illustrate and answer. It's the glue that holds the whole thing together. It's the Purpose of your story.
A Concept is HOW you intend to illustrate that Premise, it's the story you wrap around it.
Example: The 'Matrix':
Premise: Knowledge vs. Ig
The DUAL-NATURED CharacterThe DUAL-NATURED Character4 years ago in Writing More Like This
Building the DUAL-NATURED Character
Let's start this lecture with a HUGE secret:
-- There are Three Essential Characters in every story:
> Adversary The one causing all the trouble.
> Proponent The one trying to keep things the way they are.
> Ally The close companion of one or the other caught in the middle.
In other words, you can tell any story with ONLY these Three Characters; perhaps not with any real detail, but you could still do the entire basic plotline.
And each essential character is governed by one of three SPECIFIC aspects, or Drives:
> MOTIVE - Driven by a REASON to Make something happen, such as Revenge.
> ACTION - Driven by the need to ACT, normally because if they don't they die, but an incentive such as a Reward or Prize works too.
7 Steps for Ridding Your Story of Melodrama7 Steps for Ridding Your Story of Melodrama7 Steps for Ridding Your Story of Melodrama6 months ago in Reviews & Guides More Like This
Melodrama, strictly defined, means a “song drama,” of the French tradition. The tradition of this story was characterized by over-the-top emotions, to the point that the character's emotions were unintentionally funny, or ridiculous. Melodrama in modern literature, is a term used for when the emotions of your characters are absurd, petty, beyond control, and seem to overshadow the story; and today I'm going to talk about overcoming the melodrama in your story. Please note that this is something to be considered in the editing process, not in the first draft. There will be melodrama—but don't worry about it until you have a whole story down on paper or digital ink.
Step 1: Identify the melodrama in your story.
If you have written a first draft with a good number of characters with different wants and desires, there WILL be melodrama. And so your first step will go to every scene where there are emotional flares—of love,