Free Online Classes | Online Learning. Nerd Paradise : How to Write a 20 Page Research Paper in Under a Day. Posted on: 10 Cado 7:0 - 5.27.29 So you've procrastinated again. You told yourself you wouldn't do this 2 months ago when your professor assigned you this. But you procrastinated anyway. Shame on you. It's due in a few hours. Pick a Topic The more "legally-oriented" your topic is, the better. Make a list ...of every possible outcome that this issue could cause in...the near future...the far future...of every person that this topic affects....of any instances where this topic has come in the news....what you would do about this topic if you had the chance/power/enough-sugar...any little detail you can think ofThe important thing about this is to think of ABSOLUTELY EVERYTHING, no matter how silly or far-fetched.
Reorder everything Put your most obvious argument first. Then put weird off the wall stuff, regardless of importance. Put the strongest argument for your case next. Now list the incidents that will help argue for your point. It's best to keep all this in the form of an outline. Spaces. 25 Ways To Fight Your Story's Mushy Middle. For me, the middle is the hardest part of writing. It’s easy to get the stallions moving in the beginning — a stun gun up their asses gets them stampeding right quick. I don’t have much of a problem with endings, either; you get to a certain point and the horses are worked up into a mighty lather and run wildly and ineluctably toward the cliff’s edge.
But the middle, man, the motherfucking middle. It’s like being lost in a fog, wandering the wasteland tracts. And I can’t be the only person with this problem: I’ve read far too many books that seem to lose all steam in the middle. Seems like it’s time for another “list of 25″ to the rescue, then. Hiyaa! 1. Fuck the three-act structure right in its crusty corn-cave. 2. Hey, when you fake an orgasm, you gotta commit. 3. The shape of a story — especially the shape of a story’s middle — is a lot of soft rises and doughy plateaus and zoftig falls. 4. 5. 6. Sometimes, a story just needs blood. 7. 8.
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I’ve edited a monthly magazine for more than six years, and it’s a job that’s come with more frustration than reward. If there’s one thing I am grateful for — and it sure isn’t the pay — it’s that my work has allowed endless time to hone my craft to Louis Skolnick levels of grammar geekery. As someone who slings red ink for a living, let me tell you: grammar is an ultra-micro component in the larger picture; it lies somewhere in the final steps of the editing trail; and as such it’s an overrated quasi-irrelevancy in the creative process, perpetuated into importance primarily by bitter nerds who accumulate tweed jackets and crippling inferiority complexes. But experience has also taught me that readers, for better or worse, will approach your work with a jaundiced eye and an itch to judge.
While your grammar shouldn’t be a reflection of your creative powers or writing abilities, let’s face it — it usually is. Who and Whom This one opens a big can of worms. Which and That Lay and Lie Moot Nor.