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25 Ways To Fuck With Your Characters
As storyteller, you are god. And to be frank, you’re not a particularly nice god — at least, not if you want your story to resonate with readers. A good storyteller is a crass and callous deity who treats the characters under his watchful eye like a series of troubled butt-puppets. From this essential conflict — storyteller versus character — a story is born. (After all, that’s what a plot truly is: a character who strives to get above all the shit the storyteller dumps on his fool head.) Put differently, as a storyteller it’s your job to be a dick. It’s your job to fuck endlessly with the characters twisting beneath your thumb. And here’s 25 ways for you to do just that. 1. Gods have avatars, mortal or semi-mortal beings that exist on earth to embody the deity’s agenda. 2. The audience and the character must know the stakes on the table — “If you don’t win this poker game, your grandmother will lose her beloved pet orangutan, Orange Julius.” 3. 4. 5. 6. This one? 7. 8. 9. 10. 11. 12. 13.
How to Write Like You Love It: Stephen King and 6 Tools Every Writer Should Have in His ToolBox
In his Memoir of the Craft , Stephen King breaks up his book into three parts: 1) memories of his personal and professional life told in numbered chunks and fragmented snippets; 2) what's in his toolbox and what should be in yours; and 3) comments on the actual craft of writing. In this post, I will be discussing the toolbox and what King deems worthy in including in his own writer's tool box. He compares writing to a craft, a trade, like carpentry. Writing requires skill, but for every skill, tools are required. Imagine you have a toolbox, one of those red ones with six drawers that is kept in the garage. 1. 2. 3. Freddy and Myra are your subjects, not the dead body (which is already passive since it's dead). 4. 5. On paragraphs, King also reveals that they are not the melody of your work, but the beat, and in order to find the beat that will rock your writing, you must practice. 6. How about you?
Film School: How to write an ending- Flixist
Good afternoon, class. Please settle down. Tomkins, put that finger away. In our sophomoric lesson in the Flixist Film School class, we are going to be looking at a problem which has proven a challenge not only for many aspiring scriptwriters, but even seasoned professionals. Any guesses? There's the old saying, 'first impressions count'. Let's start off with the basics. I'm not going to go through what each part means, partly because it would take too long and partly because it's fairly self-explanatory, but having the structure laid out in a graph like the one above does illustrate an important point about endings. That point is that they are just as important when developing your plot as the beginning and the middle. The way to avoid this is as simple as could be: don't rush. If you're anything like me, knowing your ending is a vital part in discovering that technique. Worse still is how it makes the protagonist into a spectator in his own adventure.
The Proletarian Writer
Broadcast in the Home Service of the B.B.C., 6 December 1940; printed in The Listener, 19 December 1940. Discussion between George Orwell and Desmond Hawkins Desmond Hawkins was an author, editor and radio personality. He founded the BBC's Natural History Unit. Hawkins: I have always doubted if there is such a thing as proletarian literature — or ever could be. Orwell: No, obviously not. Hawkins: Still, I think one must admit that the cult of proletarian literature — whether the theory is right or not — has had some effect. Orwell: I think it is simply a matter of education. Hawkins: Then, after all, the appearance of the proletariat as a class capable of producing books means a fresh development of literature — completely new subject-matter, and a new slant on life? Orwell: Yes, except in so far as the experience of all classes in society tends to become more and more alike. Hawkins: And how about language and technique? Orwell: I think in the main that’s true. Orwell: Oh yes, lots.
A Flappers' Dictionary
Hidden deep within a box of materials that came into the shop this week was a short stack of old magazines. I’d never seen this title before, but I knew what it was just as soon as I saw it: Flapper. “Not for Old Fogies” said the masthead, but I took a look anyway. These were in beautiful condition (“Near Mint” is the technical term) and were just a lot of fun to page through. During the Roaring 20s of the last century, young ladies took on a new, and for the time radical, lifestyle. These were the years following World War I and prior to The Great Depression. It was all a reaction to what women perceived as stifling control placed over them by the male of the species. The July 1922 edition of Flapper contained “A Flappers’ Dictionary.” “The flapper movement is not a craze, but something that will stay,” the author maintained. The dictionary went into some detail, listing the group’s slang and providing definitions. Absent Treatment—Dancing with a bashful partner. Airedale—A homely man.
#54 – Writing Hacks, Part 1: Starting
By Scott Berkun, Aug. 28 2006 (#54) Writing is easy, it’s quality that’s hard. Any idiot who knows 5 words can write a sentence. It might be sloppy, confusing, or inaccurate but it is still writing. While it’s true that good voice, tone, rhythm, ideas and grammar are essential to good writing, they’re never introduced all at once. For this reason writer’s block is a sham. Consider this: Have you ever been blocked while playing Frisbee? So play. Writing hacks for starting In the grand tradition of lists and books of hacks, writing hacks are clever little actions that give you leverage and put the dynamics in your favor. Start with a word. Write about how it feels not to be able to write. Have a conversation. Read something you hate. Warm up. Make lists. Switch to something harder. Run like hell. Whiskey. Rummage your scrap pile. Smart writers have stockpiles of old ideas to arm themselves against the evils of the blank page. [2] True story. Further advice:
