Crossing GenresCrossing Genres in Writing More Like This
Every genre has core elements that make that genre that genre. In order to Cross Genres properly, you need to know each of your genre's distinctive elements and make them Equally Important in the story.
Simple, no? However...
One of the most common mistakes I've seen in every genre of fiction: IGNORANCE.
"Most of the common mistakes come with any writing that isn't so goodbad characters, bad plots, bad writing. The ones which are peculiar to alternate histories (fantasy and sci-fi) are bad research and bad extrapolation."
-- An Interview with Harry Turtledove --
How do you expect to cross genres properly if you don't even know the genres you're working with? Contrary to popular belief, even if you're writing pure Heroic Fantasy, just making it up as you go is NOT good enough!
On writing Heroic Fantasy
"The consequence of making that assumption is, inevita
The LAYERS of FictionThe LAYERS of Fiction in Writing More Like This
"If you have Action and Dialogue, do you really NEED Description too?
What is the difference?"
The Layers of Fiction
"Himawari-chan, I have your lunch!"
"Here you go Himawari-chan!"
"Thank you, Watanuki-kun!"
"You are very welcome, Himawari-chan."
"I see. Of course. Thank you, Yuuko-san. Do I need to tell you what she said?"
"No! No, you don't, and I don't want to hear it! I don't need a freaking baby-sitter!"
"Yuuko thinks you do."
"That's her! Not me!"
"Are you a fortune-teller?"
"No! Of course not!"
"I'll come get you after class. I'll get the instructor to let you wait while I practice."
"What? No! I said I don't want to wait !"
"You gonna eat that?"
"Yes I am!"
"I do not, not, NOT take orders from you!"
This is "Talking Head Syndrome." There are no dialogue tags, because I don't use them.
The DUAL-NATURED CharacterThe DUAL-NATURED Character 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.
The NonVerbal ThesaurusThe NonVerbal Thesaurus in Writing More Like This
Not spoken > Body Language.
Latin thesaurus, treasury, from Greek thesauros.
n. pl. thesauri (-sôri) or thesauruses
1. A book of synonyms, often including related and contrasting words and antonyms.
2. A book of selected words or concepts, such as a specialized vocabulary of a particular field.
The American Heritage® Dictionary of the English Language, Fourth Edition copyright ©2000 by Houghton Mifflin Company. Updated in 2009.
Dialogue is VISUAL
-- Not just a bunch of words.
Watch the average conversation between two people. 90% of that conversation isn't in what's Spoken, it's in what they are DOING while they are speaking. It's in their Body Language. Body-language cues in your story alert the reader by SHOWING them what is going on in a character's head without Telling t
INTERNAL CONFLICTINTERNAL CONFLICT in Writing More Like This
Note: this is how the professional authors do it. That doesn't mean YOU have to. As with all advice, take what you can use and throw out the rest.
His lips drifted across hers in a warm caress. His hand pressed at waist, the heat of his palm warming her flesh through her corset underlying the deep blood silk gown. His fingers drifted upward, toward her breast.
Desire pulsed within her core, in time with her heart. She wanted to let him tear the red silk from her body, and bury himself in her flesh, but set her palm over his to stop him just below her breast. He was a vampire and she, a mere mortal. The fear in her soul told her to stop, and yet her body begged for his mouth on her flesh. I am overcome, overcome by a desire I know only he can satisfy... He fired her blood more than any other man.
She turned away from his kiss. "Please, I can't."
His gaze narrowed, then he smiled. "
Advanced Plotting-The PREMISEAdvanced Plotting-The PREMISE 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
Writing ACTION ScenesWriting ACTION Scenes in Writing More Like This
-------- Original Message -----------
"I can't write an action/fight scene worth a crap. Mind you, I can usually imagine them, I just can't write them." -- Wanna Do a Fight Scene.
If you can imagine it - you can write it. The easiest way is by doing it in LAYERS.
The Quick and Dirty Method for writing Action Scenes
Start with a list of ACTIONS & Reactions < in that order.
-- Actions ALWAYS go before Reactions.
(IMPORTANT! Each CHARACTER gets a SEPERATE LINE. ~ NEVER clump the separate actions of two different characters in the same paragraph or the reader will get confused as to who is doing what very quickly.)
Will lunged forward, his sword fully extended in a stab.
Jack caught Will's blade with the flat of his blade. Pushing the blade just out of range of his skin, Jack slide down Will's blade in a short fast stab.
Will turned to the side to avoid Jack's sword's point.
Jack did a quick side-step to stay in front
The Secret to ParagraphingThe Secret to Paragraphing in Writing More Like This
The SECRET to Proper Paragraphing
(NOT a punctuation article.)
Once you know what your characters and doing and saying, how do you get all that down on Paper without ending up with a huge confusing mess?
Putting the Story on Paper.
Everybody knows that when a new speaker speaks they get a new paragraph, right? In other words, you DON'T put two different people talking in the same paragraph. Okay, yeah, so anyone who has written any kind of fiction learns this pretty darned quick, (usually from their readers.)
What nobody seems to get is that the same goes for a new character's ACTIONS. Seriously, when a new character ACTS they're supposed to get their own paragraph -- even if they don't speak!
In short, you paragraph by change in CHARACTER -- not because they speak, but because they ACT. Ahem... Dialogue is an ACTION. In other words, the reason you don't put two different characters' Dialogue
GMC - SIMPLIFIEDGMC - SIMPLIFIED in Writing More Like This
"I am I Need I Desire "
Goal, Motivation & Conflict - SIMPLIFIED
Goal, Motivation and Conflict seems to be the BIG MYSTERY of fiction writing. Everyone says that they're essential to good writing and they're right, they are. Absolutely. But this stuff can be a little confusing.
Let's begin at the beginning
-- What are all these things and why do stories need them?
Goal is what your character THINKS they are after.
Motivation is what makes them WANT to go after it.
Conflict is what Gets In Their Way.
-- Internal Conflict being ANGST or Drama.
-- External Conflict being the PLOT or Events.
The Plot (Events) Arc is the stuff that happens to the characters the plotline. There are 5 basic stages in a Plot Arc:
1 - Inciting Event
2 - Challenge
3 - Crisis/Reversal
4 - Ordeal
5 - Confrontation
The Character (Drama) Arc is the complimentary (or contrary) stage of Ang
Propaganda - Enemy of FictionPropaganda - Enemy of Fiction in Writing More Like This
The Enemy of Good Fiction
~ PROPAGANDA! ~
Many people have asked me, "Why don't you watch TV anymore?"
I do, sort of. I play movies that I buy and rent on my TV regularly. However, I Don't watch cable TV or local TV, and I NEVER watch sitcoms or Reality TV of any kind. If I want the news, I go to the internet.
Why Not? Because there's too much Programming going on in those programs, and not one drop of Reality in Reality TV -- especially the Law & Order ones.
TV = The Tool of Propaganda
By Phil Cunningham
Posted WITH Permission.)
Propaganda and Advertising, affects us all. The two operate using the exact same techniques, so it can be very difficult to recognize one from the other. The only major difference between the two is that advertising sells Products, while propaganda sells IDEALS.
Increasingly, the corporate advertising of goods and services is being coupled with political, "moral", and religious value messages - Propaganda.